by Maisie Rowe
In this guest blog, originally published in this summer’s edition of the Landscape Journal, Maisie Rowe explains how a recent exhibition highlights how much our attitudes to play have changed – and largely not for the better.
Hardly any other modern concept had a more far-reaching and enduring influence than the Skrammellegeplads’, says Gabriela Burkhalter. She is talking about the ‘junk playgrounds’, which were conceived in Denmark by the landscape architect Theodor Sorensen in the 1940s.
Burkhalter is curator of an excellent recent exhibition, The Playground Project, held at the Kunsthalle, Zurich, which reviews a hundred years of playground design through pictures, books and full-size play installations. Her exhibition contained much to inspire the landscape architect, not least by reminding us what design looked like when it was rooted in theories of human development and the belief that play is a right of the child.
Freidrich Froebel, inventor of the kindergarten, wrote: ‘Play is the highest expression of human development in childhood, for it alone is the free expression of what is in a child’s soul.’ Froebel, Jean Piaget and Maria Montessori were just some of the key figures in a discourse that, by recognising childhood as central to human experience, would put children at the heart of the twentieth-century social project. The design of playgrounds took on artistic and social importance: ‘If childhood is a journey, let us see to it the child does not travel by night’, said Aldo van Eyck, who designed around 730 play- grounds for the city of Amsterdam.
‘the twentieth century was not kind to children’
But despite being described as ‘The Century of the Child’, the twentieth century was not kind to children. Conflict and upheaval devastated childhoods and, while the enlightened pedagogues sought to nurture the innate creativity and spirit of each child, cities blindly privileged the motorcar over the child and sacrificed open space to bricks and concrete.
So playground design was always going to be contentious. From early on, it was beset by a tension between mass delivery of practical municipal play facilities and provision that emphasised deep play and contact with nature. Some of the earliest playgrounds were severe, gymnasium- like spaces provided by reformers and philanthropists to engage slum urchins in purposeful activity, once they were liberated by reform from factory labour. By contrast, the progressive designer C. Th. Sørensen spent time watching how children, left to their own devices, played on waste ground, building dens and damming streams.
‘Sørensen said: ‘They (the children) can dream and imagine and make dreams and imagination reality’
Sørensen’s collaborator was Hans Dragehjelm, ‘the father of the sand-box’. They drew inspiration from the German idea of sand play; in Berlin, in the 1850s, huge piles of sand, called sand bergs, had been provided for children to play with. Dragehjelm set up Copenhagen’s first sand playground but Sørensen took the idea further, says Burkhalter: ‘Sørensen made even more room for the creative moment: the children were given materials and tools to build their own worlds.’ Of his ‘junk playground’, established at Emdrup in Copenhagen in 1943, Sørensen said: ‘They (the children) can dream and imagine and make dreams and imagination reality… It is so obvious that the children thrive here and feel well, they unfold and they live.’
An English landscape architect, Lady Allen of Hurtwood, chanced on Sørensen’s project while on a British Council lecture tour through occupied Europe. Lady Allen came from the class of eccentric, posh-but-penniless bohemians. Enamoured of nature, she spotted that these gloriously chaotic environments – with their dens, ropes, bonfires, gardens and animals – offered urban children freedom, self-expression and an outdoor life.
She wrote: ‘In a flash of understanding I realised that I was looking at something quite new and full of possibilities… There was a wealth of waste material… and no man-made fixtures. The children could dig, build houses, experiment with sand, water or fire, and play games of adventure and make-believe.’ Adopting a rallying-cry of ‘Better a broken arm than a broken spirit!’ she reinvented Sørensen’s Skrammellegeplads as ‘adventure playgrounds’.
‘playwork practice evolved into a highly-skilled (but under-valued) profession’
Continental adventure playgrounds are relatively orderly affairs. Small groups of children work assigned plots of land; at Kolle 37 playground in Berlin, children to this day are given 20 nails per session to work with, which they use, re-use or barter. Britain’s adventure playgrounds developed a more anarchic and squalid character – photographs of Clydesdale Road Adventure Playground in the 1950s show children revelling in daubed paint and old sofas – while our playwork practice evolved into a highly-skilled (but under-valued) profession. Sørensen was aware of this contradiction: ‘Of all the things I have helped to realise, the Junk Playground is the ugliest; yet for me it is the best and most beautiful of my works’. It is curious that this most significant of contributions to landscape architecture should be a sort of anti-design; produced by child-builders with the minimum of involvement by the professionalised adult designer, without aesthetic consideration.
While it is difficult to escape the sense that playground design today has become formulaic, the Playground Project exhibition reminds us that it need be anything but that by describing a wealth of innovative sculptural forms, derived from an array of design practices. The play sculptures of Josef Schagerl and Egon Møller-Nielsen ‘combined the autonomy-based language of modern sculpture with the goals of play and functionality’, according to Burkhalter. Their underlying anti-elitism aimed to encourage public acceptance of abstract art.
In America, Joseph Brown, who was a boxer, sculptor and teacher of architecture, experimented with kinetic works like Jiggle Rail and Swing Ring, while Paul Friedberg and Richard Dattner made the playground itself into an abstract sculptural composition. Their landforms invited children to hide, clamber and interact, but designed out parental hovering. In Italy and France, the radical spirit of ’68 informed the experimental practices of Riccardo Dalisi, Palle Nielsen and Group Ludic, whose spaces were tools of political engagement and subversion. And the architect Aldo van Eyck earned himself a special place in playground design heaven by inserting more than 700 playgrounds into the fabric of the city of Amsterdam between 1947 and 1978, combining playground design with a form of place-making.
And so to the present day, where we face growing evidence that children are spending less and less time playing outdoors. The phenomenon is variously ascribed to parental fears, stranger danger, perilous roads, over-structured leisure time and electronic games; the costs are commonly named as childhood obesity, poor mental health, disconnection from nature and the breakdown of community.
While the true nature and effects of this crisis – if indeed such a crisis exists – are up for debate, negativity surrounding the question of children’s play is leading to a reconsideration of what constitutes a playground.
‘(a)…proliferation of adult-controlled monetised play experiences’.
One expression of this is the proliferation of adult-controlled monetised play experiences. At Westfield, London, Kidzania brings children indoors to try out an array of professions, at a cost of £29.50 per child. The experience is claimed to ‘teach kids essential life skills including financial literacy, team work and independence.’ With 28 UK sites, Go Ape, (£18 per child), enables harnessed visitors to navigate a fixed circuit of high ropes, zip-wires and walkways, suspended from trees. These are terrifically fun days out, but what they offer is not true play, defined in the British playwork tradition as ‘freely chosen, self-directed and intrinsically motivated’. At Go Ape, the activity is neither freely chosen nor self-directed. You cannot choose the sequence in which you use the equipment, nor are you free to go back and do something again (and again). At Kidzania, which conceives childhood merely as preparation for adulthood and rewards the acquisition of specific skills, the activity is not intrinsically motivated.
How do you provide the maximum of space for imaginative play in a constricted space? Architect Asif Khan has tackled this problem at Chisenhale Primary School in east London (his children’s school) by designing an elevated structure which effectively creates more space. Access via a rope or a rope trellis, the space not only offers access to exciting slides, but areas designed for quiet and contem-plation. The structure is clad in heat-treated tulipwood, an abundant American hardwood that combines the sensuality of timber with a smooth surface devoid of splinters and great durability.
Of greater interest to the landscape architect is the fact that practitioners from the fields of playwork and design are questioning the logical basis of the playground itself. Adrian Voce is author of the excellent Policy for Play, which describes the twenty-year campaign to enshrine the right of the child to play in government and planning policy. He told me: ‘Adventure playgrounds responded to the loss of spaces where children could play. In an ideal world, we wouldn’t need playgrounds because spaces where children grow up and go about their day would be spaces which they – and their parents – could perceive as safe. Playgrounds condescend to children’s need to play. They make it separate: but is this to keep children safe – or is it to keep society orderly and safe from children? Sadly, however, we don’t live in a perfect world so if it wasn’t for playgrounds, where else would children play?’
‘radical thinking about children in the built environment is coming close to eliminating the playground all together’
Some of the most radical thinking about children in the built environment is coming close to eliminating the playground all together. A cross-disciplinary team, led by Dinah Bornat of ZCD Architects, is using people-counting methodologies developed by Jan Gehl to gather evidence of the extent to which housing design fosters or discourages free outdoor play.
Bornat describes this as a new way of looking at external spaces: ‘In housing schemes that work well, play happens spontaneously. What’s needed is for children to have access to car-free, communal space from their doorsteps. We’re looking at ways in which housing design can enable this to happen.’
The origins of these ways of thinking can be found in the work of the anarchist, urbanist and educator, Colin Ward. In 1979, he looked outside the playground and said: ‘I don’t want a Childhood City. I want a city where children live in the same world as I do… If the claim of children to share the city is admitted, the whole environment has to be designed and shaped with their needs in mind… Every step the city takes to reduce the dominance of motor traffic makes the city more accessible to the child. It also makes life more tolerable for every other citizen.’
We should question our practice. We should make cities playable. But let’s not give up entirely on that playful, sculptural, experimental landscape that is experienced with both body and imagination known as the playground. The design of playgrounds still has plenty to say about the design and experience of all landscape.
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