the architecture of early childhood

The state of play today

2012-02-22T16:10:00.003+13:00

Following my previous post, which looked at a number of (sculptural and adventure) playgrounds designed by architects and artists between 1930-80 in America who sought to create meaningful and creative spaces for children's play; I am now going to look at what is happening today.

It can be said, that we are beginning to witness a resurgence of interest in children's play. Perhaps this is because playgrounds today are competing for kids' time and losing. Nearly 25% of children aged 9-13 have no free time for physical activity, and a child is six times as likely to play a videogame as to ride a bike. Therefore, the playgrounds of tomoroow must offer something that even the most enticing virtual offerings cannot: real spaces that look at least as amazing as anything virtual (Manaugh, 2012).

Architects and designers are beginning to rise to this challenge, creating spaces that are complex, engaging and some even with technological gadgets to push.

Two types of approaches to playgrounds appear to have emerged:

Loose Parts: which allow the user to create their own play sculpture and can be transported from site to site.

Playscapes: which work on the thesis of combining play with landscape design - these playgrounds transform urban space into vibrant play spaces.

Loose Parts

Geometry Playground, The Exploratorium, San Francisco

In this traveling geometry exhibit and playspace, children roam through walls of torqued cubes, parabolic curves and wavy mirrors; play with stacked forms and glowing building blocks; and climb gyroids and a stellated rhombic dodecahedron [top]. They might even learn some math as they do.

Neos, Playworld Systems, Pennsylvania

NEOS introduces videogame elements— blinking lights, buttons, beepers and timers—into outdoor playgrounds. Players run, jump, and work together to chase down light as it bounces from panel to panel throughout the rubberized metal structure. The light- tag games are aerobically intense and last just a minute at most.

Snug Kit, Snug & Outdoor, London

Nine objects—mounds, bumps, walls, waves, noodles—form a playground-in-a-box. Children can spin the bumps, fit the waves together to form a slide, and use the walls (which are semicircular) to build tunnels or, flipped, as seesaws.

Imagination Playground, David Rockwell, US

David Rockwell's Imagination Playground with its lack of fixed equipment, and plethora of loose parts— motley blue foam components allow children to create their own environment. This kind of free play is essential, scientists now believe, in building childrens' brains and fostering independent thinking.

Playscapes

Mobius Climbers, Landscape Structures, Minnesota

A Möbius strip–like climbing wall made of a textured anodized aluminum sheet, studded with polyester resin (fake rock) handholds, forms a challenging landscape to explore. Therapists use the climbers to help children overcome sensory- processing disorders.

Schulberg, Annabau, Germany

To create an undulating climbing space that meanders through the trees, Annabau designers erected two green steel pipes with a net strung between. In some sections, traversing the structure can involve swinging from ropes with rotating plates.

Wall-Holla, Carve, Amsterdam

What happens to a jungle gym when it’s compressed? It turns into a maze, a fortress, a rock-climbing wall or a soccer goal. Sixty children can comfortably fit in and on Wall-holla, a structure 16 feet tall and 52 feet long.

BUGA playscape, Rainer Schmidt, Munich

Schmidt forwent traditional park fixtures like slides and jungle gyms in favor of a soft, rolling terrain of colorful Tartan turf and grassy hills laced with meandering pathways.

These are just a few recent examples of some inspiring playscapes that are popping up today - capturing the imaginations of children, whilst also adding vibrancy to public spaces.

For many more inspiring examples, visit playscapes.

Via Popular Science and Dwell.

The 'designer' playground

2012-02-22T13:37:00.001+13:00

The playground frequently seen today is a colourful collection of commercial equipment where use is predetermined, leaving little open to interpretation or improvisation.

Michael Laris a playground designer for Kompan tells a story in Children's Spaces (Dudek, 2005) of an important lesson he learnt:

Having designed a children’s castle, with accompanying turrets, battlements, an archway, a drawbridge...he went back to observe the children play. Here he watched as three boys ran over to the castle, through the entrance and under the arch. The first boy ran up onto the upper platforms, whilst the second hid below in the ‘dungeon’. The third stopped at the portal, took hold of a lever arm, (placed so that children could pretend to lift the drawbridge), and shouted, ‘anchors up, we’re sailing!’

"Sailing? My new castle, sailing?" thought Laris.

So he learnt, it is not the designer who decides how something is used, it is the children. And it became clear to him, the crucial need for designs that are less obvious, more abstract, and include a diversity of shapes and materials so that they are open to a wide range of imaginative interpretations – interpretations made by the children themselves.

Kompan's Story Maker Castle. Image from Kompan.

An article in Dwell, written by Deborah Bishop looks at the history of the American Playground since the early 1900's, and those artists and architects or visionaries who sought to transform and inspire children's play.

Japanese American artist Isamu Noguchi sought to replace the stock, single-use structures with "sculptural landscapes" of mounds, craters, steps, slides and peaks molded from earth. Beginning with Play Mountain in 1933 and culminating with the Levy Memorial Playground in 1961, designed over the course of five years with Louis Kahn for an eight-acre site in Manhattan's Riverside Park.

Playscapes, designed by Noguchi in Atlanta's Piedmont Park was built in 1976. Image from Dwell.

"Sculptures are to be felt with kids' bottoms." - Isamu Noguchi

Also around this time was the emergence of the architect Theodor Sorensen's "junk" playgrounds in Europe - see earlier post. Proliferating in bombed-out lots across Europe after World War 2; children built their own forts, tree houses slides and other amusements using scraps of timber, metal sheets and tools under the watch of a supervisor.

Although adventure playgrounds were too 'rough and tumble' to flourish in America there was a post-war attitude for something new. In 1954 the MoMA and avant-garde toy company Creative Playthings co-sponsored a Play Sculpture Competition that attracted more than 350 submissions. Abstract in nature so as to inspire creative projection rather than a prescribed response with cubes, domes and spirals.

Here, some sculptural play equipment designed by Noguchi in Moerenuma Park in Japan, which was built in 1988. The entire park was designed by Noguchi as "one complete sculpture".

Jay Jacobs in 1967 wrote in 'Art in America':

"the public playground is suddenly in the midst of a renascence as designers, sculptors, painters and architects strive to create a new world of colour, texture and form for toddlers". - Jay Jacobs

American architects and pioneers of play Richard Dattner and M. Paul Friedberg were inspired by Noguchi's sculptural playground designs and explored the needs of the chid's growing mind and body; and were interested in the connections between imaginative play, exploration and cognitive development: "An environment that provides only the familiar challenges that have already been overcome countless times, will never call forth any new learning" (Dattner, 1969).

By observing how children choreograph their own entertainment in consruction sites and on city streets - running, jumping, swinging - both Friedberg and Dattner championed "linked" or "continuous" play, rather than offering one static experience per element. "The choice of what to do next becomes an experience. The more complex the playground, the greater the choice and the more enriched the learning experience" (Friedberg, 1970).

Richard Dattner's design for a playground for Central Park at West 81st Street. (The circular form were later changed to octagons and the water channel eliminated before construction). Image from Dwell.

In 1966 Friedberg at the Jacob Riis housing plaza on the Lower East Side created a play venue for all ages - it featured a granite igloo, tunnels and ladders, a wood-timber area, a pyramid, a maze and arching monkey bars. "We created experiences comparable to those a child might find elsewhere in widely scattered areas - a mountain, a tunnel, a tree house - and brought those together into a single environment".

Friedberg's "vest-pocket" park. Image from Dwell.

His "vest-pocket parks" (which sadly no longer remains) transformed 'garbage-strewn' lots into creative play spaces.

"Play is the child's work. The world is his laboratory, and he is its scientist. Play is the research by which he explores himself and his relationship to the world." - M. Paul Friedberg

Dattner's lasting accomplishment was his adventure playground in Central Park (and was famously seen in the opening sequence of Sesame Street). A thoughtful and unified space encouraging improvisational play - children would stroll under a low tower and through a maze, "as if entering their own private world," wrote Dattner.

Dattner's Adventure Playground in Central Park, built in 1967.Image from Dwell.

The playground included mounds, peaks, climbing poles, tree houses, a volcano notched with cobblestones and a crater composed of concentric walls... with multiple way of ascending, descending, and getting from here to there. Dattner incorporated some of the elements of the wilder European ("junk") versions. The original pyramid contained building and art materials handed out by a play supervisor, which allowed children to "rearrange their physical world to their liking. As Dattner says, "The next best thing to a playground that children design themselves is a playground designed by an adult but incorporating the possibility for children to create their own places within it."

"The place where children play is a sort of magic circle, outside and separate from the rest of the world; it has its own time, which cannot be measure by our clocks." - Richard Dattner

Another playground that was close to being demolished was the Tot Lot in Palo Alto, California's Mitchell Park, a curvy space designed by landscape architect Robert Royston in 1957. Utilising "modernism's free-flowing space...which was designed without corners so every child could be seen by his mother".

The Tot Lot at Mitchell Park. Seen here is the Gopher Holes - a series of circles cut out of cement over a bed of sand that encourage jumping, peeking and burrowing. Image from Dwell.

Unfortunately due to rising fears of safety, the brief era of the designer-built playground was short-lived. Despite Dattner's view that "no playground can prevent a child from being hurt, and if it protected him from upset completely it would convey the very misleading impression that he has got nothing to fear from his environment"; eventually these ideas were superseded by mass-produced structures that came with full liability insurance, if limited imagination.

As Friedberg puts it so wonderfully: "Just as TV becomes an electronic babysitter, so do out existing play facilities become great, gray outdoor nannies, incarcerating children and protecting them from experience and involvement. The air may be fresh but the play is stale."

Via Dwell (Bishop, 2007), Ping Mag, American Playgrounds (Solomon, 2005) and Children's Spaces (Dudek, 2005).

Think, make, tinker!

2012-02-20T21:43:00.002+13:00

Like my previous post (and thankyou ako for pointing me to this), the Tinkering School in the U.S. promotes enquiry or project-based learning - through building (or "tinkering").

Providing the children with tools, materials and guidance, these young imaginations run wild and learn creative problem-solving.

Watch this presentation given by Gever Tulley the founder of the school to see some of what these kids came up with...including boats, bridges and even a rollercoaster!

As Tulley says: "Success is in the doing and failures are celebrated and analysed." As it should be.

A radical experiment in the early 1900s that embodies the progressive theory of the child that learns by experience

2012-02-20T14:48:00.000+13:00

Prestolee School in Lancashire, England under the guide of Mr E F (Teddy) O'Neil between 1919 and 1952 became a radical experiment of progressive educational ideas, encouraging its children to learn by experience or by 'doing'.

Prestolee from Green Schools Online on Vimeo.

O'Neil like that of John Dewey (1859-1952) objected to the concept that the child's day must be divided up between work and play, his thesis being that children learnt by doing. He therefore developed a school environment which enbaled the children to work at their own pace following their own course of development. He believed that children were constructors and researchers of their own worlds, and that they should choose to utilise their time best to develop their own interests (Dudek, 2006).

The school was initially designed like any other Edwardian school in 1911 to serve the population of Kearsley, a small mill-town near Bolton. The school was comprised of an elongated 'u' shape with ten classrooms arranged around a central hall - and was designed with the view of the child as a 'passive learner' required to be 'disciplined' . The pedagogical principles of these spaces was about control and strict regimentation with very little consideration for free or active play. However, consideration was given to the health of the working classes and so the childen's spaces were kept well ventilated with plenty of natural light (Burke & Dudek, 2010).

Image from Prestolee School Website.

It was therefore an adaptable framework for O'Neil to test his educational experiments, where O'Neil fashioned the school interior and exterior as a single seamless environment, a deliberate response to what he considered to be the artificial and damaging division between 'work' (indoors) and 'play' (outdoors) (Dudek, 2006).

The children also played a large role in the transformation of the school environment, including the replacement of classrooms by workshops and the reconfiguration of an upper floor hall into what became known as the 'palace of youth'.

Playground equipment built by children, 1937. Image from Bolton Archives collection.

The curriculum consisted of: 'the manufacture of their own learning aids, including books, weighing machines and measuring devices; the fashioning of useful and functional furniture for inside and out, for home and for school; the making of cages and stalls to house school pets; the design and construction of a milk bar, an outdoor stage, illuminations for the whole school, flower trellises and vegetable plots, several towers and a working windmill containing several rooms that stood thirty feet high, garden pools including one for swimming, a roundabout climbing frame, several bridges spanning gardens and ponds and a goat house' (Burke & Dudek, 2010).

Children at Prestolee could carry out their tasks indoors or outdoors as they wished - among gardens of flower beds , vegetables, water fountains, bathing pools, engage in construction and a windmill was constructed by the oldest junior boys (seen below).

The windmill, built by senior pupils at Prestolee School, Kearsly, Lancashire, 1946. Image from (Dudek, 2006).

Inside, one of the most important transformations was the conversion of the assembly hall into an open plan classroom, accessible to pupils of all ages. Screens and other furniture were moved in, with long tables placed back to back forming large flat areas for activities such as music, reading, art and construction. The idea that learning materials could be used informally when individuals or groups of children required them.

Image from (Burke, 2006).

The emphasis on self-generated learning or 'learning by doing' required an environment that was highly flexible - the architecture thus emerges and develops, constantly changing as educational needs are defined.

Image from (Burke, 2006).

Scholars today have access to a number of records made by past pupils describing their memories of their experiences at Prestolee.

A child wrote of their expreience in 1945: 'How could anyone possibly forget it once they have been pupils of Prestolee Council School?' Whilst another explained to Warwich Sawyer, a mathematics educator, one of the many visitors to the school during the 1940s: 'One of the exercises we had was building a tower about twenty feet high with broom sticks lashed together with rope. We thought that someday we would bridge the local canal in the same way.'

The details with which children describe the various buildings imply their intimate involvement in their fruition. For example, the goat house is described by one child as: '... a small brick building about five feet by four feet made up of about three hundred bricks, has a roof made out of wood. The wood is covered with felting which is held down with plaster laths. The wall is nine inches wide up to about eight bricks high, then from there to the top is four and a half inches wide ... inside it has a stall and a loose box. The stall has now got a goat in it ... in front of the building there is an enclosure for the goat to run about in. Round one side of the enclosure there is a diamond brick wall and at the other side there are railings ... part of the enclosure is grass and part tarmac.'

Image from (Burke, 2006).

The Prestolee pedagogy was highly radical for its time, yet holds relevance today and chimes with contemporary shifts in educational policy and practice. Themes known today as 'Children as Researchers', 'Learning through Enquiry', 'Place Based' or 'Problem Based Learning', all which point to the need to make learning real, connect with their community, and motivate students by allowing their natural interests and abilities to flourish.

Via Dudek, M. (2006). Schools and Kindergartens: A Design Manual, Burke, C & Dudek, M. (2010). Experiences of learning within a twentieth‐century radical experiment in education: Prestolee School, 1919–1952, Oxford Review of Education, 36:2, 203-218 and Burke, C (2005). ‘The school without tears’: E. F. O’Neill of Prestolee, History of Education: Journal of the History of Education Society, 34:3, 263-275.

Rooms within rooms or spaces within spaces is the theme of these new early childhood centres and schools

2012-02-02T12:00:00.002+13:00

I blogged previously about Suppose Designs' concept drawings for an early childhood centre that adopted the metaphor of a miniature town using 'house-like' units to fit-out an existing space for young children.

And now the concept has been realised!

Built in Kanagawa, Japan, the Kiddy Shonan C/X Nursery houses a series of small different shaped and textured 'dwellings' functioning as classrooms or playrooms.

Each of the units features large cut-out windows for the children to look out from or even climb out from...

Arranged like a small neighbourhood, the floor has been marked with lines inidicative of paths and roads, guiding the young children between the structures.

Via DesignBoom.

Another recent design is a school in Stockholm, Sweden, the Vittra Telefonplan designed by Rosan Bosch. All 30 schools in Sweden's free school organisation Vittra encompasses the philosophy of 'no classes and no classrooms' (Bosch, 2011).

Instead, students are taught in groups according to levels based on the school's pedagogical principles of 'the wateringhole', 'the show-off', 'the cave', 'the campfire' and 'the laboratory' - didactic approaches that create different types of learning and teaching situations (Bosch, 2011).

Vittra's vision is to to create an everyday, living, cultural and challenging learning environment for the students that focuses on the individual learning and development of each student.

Bosch's design for the Vittra Telefonplan interprets the school's pedagogical philosophy by creating open and free-flowing spatial divisions with custom-designed free-standing units, that set multiple situations or platforms for different types of learning (i.e individual or social).

Displaying neon-green "sitting islands" and whimsical picnic tables for students and teachers alike to gather.

As Bosch says, "The differentiated spaces allow the children to learn on their own terms, creating different types of learning scenarios. In that way, the design lets the school unfold its potential." (Labare, 2012)

The philosophy of the school and its accompanying physical environment appears to take its departure from the early childhood pedagogical philosophies - of the individual and natural child - that follows the child's interests and creates environments for social and collaborative learning as well as individual and independent learning.

The question now is, is this the future of learning for all schools? Or does structure and hierachal learning still have its place in preparing children for society?

I am intrigued and fairly excited by this concept that treats children less like children and more like capable citizens, where their natural interests are able to flourish.

Yet am not entirely convinced by the design, which appears to me as too artificial (lighting, materials) and 'trendy' with its use of futuristic shapes and colours that will date too quickly.

Instead the design could take into consideration the use of natural textural qualities and lighting, lasting materials, colours and forms, mediate relationships with the natural and cultural environment...

Via Fast Co. Design, Architzer and Rosan Bosch.

While the concept of using free standing units as opposed to traditional floors and walls is a fairly new concept - the idea has already been utilised by a number of architects in the design of early childhood centres and schools for their ability to break down the scale of space for adults to that of space for children.

From clockwise:

1. Kindergarten in Tromsø, Norway designed in 2006 by 70ºN Arkitektur
2. Fawood Children's Centre in London, UK designed in 2004 by Alsop Architects.
3. Carl Bolle Elementary School in Berlin, Germany designed in 2006 by Die Baupoliten.
4. Olifantsvlei Preschool in Johannesburg, South Africa designed in 2006 by Innsbruck University, Studio 3 - Institute for Experimental Architecture.
5. Villa Julia cardboard playhouse designed by Javier Mariscal for Magis, for Milan Design Week 2009.
6. Corning Child Development Center in Corning New York designed in 1996 by Mack Scogin Merril Elam Architects.

Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.

2012-02-01T09:54:00.000+13:00

- Albert Einstein (Via Accelerated Learning)

Photo from Flickr.

The post-war adventure (or "junk") playgrounds promoting autonomous play

2012-01-31T15:27:00.001+13:00

The history of the playground is marked by an irresolvable contradiction:

On the one hand modernity has conceptualized play as a biologically inherited drive that is spontaneous, pleasurable, and free - attributed to the autonomous and individual self. Yet, on the other hand, modern societies have rationalised and shaped children’s play from the outside to advance social, educational and political goals.

Thus the 'playground' is in fact about censoring and restricting types of play deemed undesirable and displacing them from places deemed dangerous or corrupting, such as the street.

“War Games”: Photo taken by Francis Reiss to illustrate Lady Allen of Hurtwood’s essay in Picture Post, November 16, 1946 (Kozlovsky, 2007: 1).

This contradiction is embedded in the 1959 Declaration of the Rights of the Child, which states that play is a universal right of the individual and, at the same time, defined it as an instrument of social policy: “The child shall have full opportunity for play and recreation, which should be directed to the same purpose as education; society and the public authorities shall endeavour to promote the enjoyment of this right” (Kozlovsky, 2007: 1). A statement, which encapsulates the paradox of the modern discourse ofplay.

The Lollard adventure playground on the site of a bombed school. The House of Parliament can be seen across the river (Kozlovsky, 2007: 2).

The adventure playground movement however, sought to transcend this contradiction by constituting play practices that appeared to be operating from within the subject, from the child’s own free will. It intended to enhance and encourage children’s own play rather than restrict or shape it from without (Kozlovsky, 2007: 2).

Camberwell Junk playground on the site of a bombed church. Times Educational Supplement, 5 June 1948 (Kozlovsky, 2007: 18).

Emerging after World War 2, the adventure playground has no ready made play equipment and predetermined agenda for what should take place. Rather, children introduce content and meaning to the playground through their own action - through experimenting, making and destroying (Kozlovsky, 2007: 2).

Promoters of adventure playgrounds heralded them as being more appropriate to the true nature of children and their play, as well as providing a more pleasurable and meaningful experience than the traditional playground (Kozlovsky, 2007: 3).

The Danish landscape architect Carl Theodor Sorenson first suggested the concept of the adventure playground following his observations of children at play in construction sites and junk yards: “perhaps we should try set up waste material playgrounds in suitable large areas where children would be able to play with old cars, boxes and timber...” (Kozlovsky, 2007:5)

Crawley Adventure Playground, 1955 (Kozlovsky, 2007: 30).

The idea was tested in 1943, during the German occupation, where Sorenson was commissioned to design a junk playground, as these playgrounds were initially named, for the Emdrupvaenge housing estate at the outskirts of Copenhagen.

Sorenson sought to design the playground according to an analysis of play activity rather than formal or compositional concerns (like Aldo van Eycks’s abstract playground designs). The idea being that to create imaginative environments, the “imagination” at play should be that of the child, not of the architect. An idea that was in accord with the pragmatism of John Dewey, who privileged the child’s present inclination over an abstract conception of what he or she should be in the future, and valued learning though experience over repetitive performance of predetermined activities imposed from without (Kozlovsky, 2007: 6).

Sorenson admits: “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.” (Kozlovsky, 2007: 6)

Junk Playground at Emdrup, Copenhagen 1943 (Kozlovsky, 2006: 1).

Although Sorenson’s initial proposal did not require an adult play supervisor, the Workers’ Co-operative Housing Association employed one, John Bertelsen. However, Bertelson stressed that the purpose of the leader was not to govern children from the outside and direct their building activity towards a useful goal, but rather to act from within, by allowing them to pursue their own projects. He argued that “the initiative must come from the children themselves...I cannot, and indeed will not, teach the children anything.” (Kozlovsky, 2007: 8)

This type of unsupervised play allowed for the activity of play to be observed as a way of “gaining insight into the mind of the child and his various conflicts.” As well as fostering in children self-perceptions and promoting social skills such as resolving conflicts peacefully. In the words of the progressive pedagogue Inger Merete Nordentoft, it sought to make children into “democratic citizens, humans who can think independently, can be responsible and capable of showing tolerance towards others and have the courage and firmness to defend their own convictions.” (Kozlovsky, 2007: 8)

Lady Allen of Hurtwood a landscape architect from England became involved in child-centred causes during World War 2, and established the World Organisation for Early Childhood Education in 1948.

The Clydesdale Playground, 1952 (Kozlovsky, 2007: 16).

In 1946, as part of her international and pacifistic effort to constitute “early child education as the best way of creating peace-loving citizens,” Allen visited Emdrup and was “completely swept” off her feet.

Lady Allen of Hurtwood, “Why Not Use Our Bomb Sites Like This?” Picture Post, November 16, 1946 (Kozlovsky, 2006: 2).

Allan began to promote the idea in lectures, pamphlets, conferences and most influentially in a well-illustrated essay she published in the ‘Picture Post’ in 1946. The essay began with a critique of the conventional playground, arguing that it failed to attract children and remove them from the street. Allan presented Emdrup as a “revolutionary” playground that could resolve the crisis, and foster a “democratic community” for its inclusive approach of children irrespective of gender and age -thus allowing all children to participate in a play community (Kozlovsky, 2007: 11).

Commenting on the safety of these playgrounds, she was heard to have said “Better a broken arm than a bruised spirit,” and urged New York parents to sue the city fathers “for emotional damage to their children because they failed to provide suitable and exciting playgrounds for them" (Bishop, 2007).

St. John’s Wood Adventure Playground, London (Kozlovsky, 2006: 5).

Junk playgrounds came to receive extensive press coverage, and the idea spread all over England, where they were established in blighted or blitzed neighbourhoods as a component of urban renewal; as well as in the new towns surrounding London, notably, Crawly and Welwyn, where they were integrated into Hertfordshire’s progressive, child-centred educational infrastructure (Kozlovsky, 2007: 13-14).

Beallerup Adventure Playground, Copenhagen (Kozlovsky, 2006: 10).

The temporary conversion of bombed sites into playgrounds was part of a broader debate about how to rebuild London, as well as to plan for the return of more than a million evacuated children. Allan’s ideas went against the grain of the dominant planning ideology of planning to rational and functionalist principles, whereby the place of the child is planned into self-sufficient units organised around the school and playground. Yet Allan’s truly radical proposition was that reconstruction and the adventure playgrounds should be carried out with the participation of the population (Kozlovsky, 2007: 15-16).

Via The Junk Playground: creative destruction as antidote to delinquency, Designing Modern Childhoods: Adventure Playgrounds and Postwar Reconstruction and Structured Play.

A vibrant kindergarten in Levin, NZ that is recognised as the 'healthiest' and as a 'hub of the community'

2012-01-29T13:52:00.000+13:00

Taitoko, which means 'ray of light' in Maori is a centre situated in small-town Levin in New Zealand that has been transformed from a centre on the verge of closure into a 'thriving community hub' (Northcott, 2010).

Head teacher Caryll Resink says when she started at Taitoko it was like a "forgotten centre...on the wrong side of town where no one wanted to send their children" (Northcott, 2010).

Determined to turn the centre around, she applied for the Parent Support and Development pilot, a project that was trialled by the Ministry of Social Development and the Ministry of Education that looked to turn kindergartens into a type of hub for the community to come together and form networks.

The project ran initiatives such as weekly coffee mornings with parents and guest speakers such as dietitians, dentists and school teachers, where the parents could ask questions (Northcott, 2010). Resink explains that parents are encouraged to come into the centre, make a cup of tea, hang out and learn alongside their tamariki (Torrie, 2008).

To meet the goal of a 'hub environment' the centres' building also got an upgrade, the interior and an extension to provide an area for under 2's - designed by Wellington-based firm Tennet+Brown Architects. (Who also designed the award-winning Maori Language School - Mana Tamariki - see previous blog post).

It has now not only been recognised for its philosophy of fostering community, but has also been named the 'healthiest school at the MidCentral District Health Awards' (Torrie, 2008).

Resink says: "We have fit and healthy fun weeks, budgeting advice, cooking classes, sewing bees. Agencies like Breast Screen Aotearoa and midwives use the centre to deliver their services. We bought cameras so we can send home laminated photos of the children." (Northcott, 2010)

It is a place where cultural diversity is nurtured and developed so children can freely learn about themselves and the world around them. Children's paintings are 'plastered all over the walls, whilst Poi E blares from the boombox.' (Torrie, 2008)

Bronwyn Torrie (2008) visited the centre and described it as a place where:

"Shrills of delight repeatedly burst from happy smiling little people who are having a great time squishing slime, hammering nails, jumping off boxes. Kids are yelling in Samoan, Tongan, Maori and English as they tear around the playground at top speeds. Then there are the kids inside singing and dancing or playing with playdough and poi. Taitoko Kindergarten is buzzing. The place is alive." (Torrie, 2008)

Via Stuff, Wellington Kindergartens, Whanau Family news and Tennet + Brown Architecture.

'Childhood is measured out by sounds and smells and sights before the dark of reason grows'

2012-01-25T09:25:00.000+13:00

- John Betjeman, from 'Summoned by Bells' (Figes, 1997: 31)

Photo from Flickr.

I love pinterest

2012-01-24T09:53:00.001+13:00

I have to say Pinterest is the next best thing.

It allows you to 'pin' any image that you find from the internet to your custom created 'pinboards' - with a simple click on 'pin it' that you load into your bookmarks bar. You can follow others with similiar interests and the home page offers a feed of yours and others 'pins'.

Displaying loads of inspiration on one never-ending page.

So, over the last few days I have been compiling a collection of images to my pinboard: architecture of early childhood. It is a collection of my favourite images from my blog as well as features of other buildings that I thought might add some inspiration.

So please, do check it out, and you can even 'follow me', if you like.

Kompan wins design award for its innovative playgrounds

2012-01-19T14:13:00.000+13:00

KOMPAN, a company that is dedicated to creating child-focused play equipment has been recognised by the Australian International Design Awards Yearbook 2011 winning the '2011 Award of the Year'.

The award recognises the KOMPAN playgrounds as advanced, setting a new standard for play grounds around the world by combining exciting electronic games with challenging outdoor play equipment.

From the judges:

'With its day-night versatility, low running costs, intuitive layout and high quality, this will appeal to children and adults alike. The combination of electronic games with physical play equipment was a stroke of genius. In an age where childhood obesity is an epidemic, this is where design thinking can make a real difference.'

Via DQ magazine online.

KOMPAN began 40 years ago when artist Tom Lindhart Wils noticed that his bright sculpture, which had been placed in a new housing estate to add colour to an otherwise drab surroundings was given more attention by the children who frequently played on it began to work on creating play equipment.

Today KOMPAN is the world's leading specialist in play solutions for all age groups and still growing globally.

A primary Hindu school that teaches children respect for their surroundings and each other

2012-01-09T10:55:00.001+13:00

The Krishna-Avanti Primary School designed by Cottrell & Vermeulen Architecture in 2009 is a Hindu school in the UK that bears more of a resemblance to a large kindergarten than a school - with interconnecting spaces catering for a wide use of activities, experiments and life-skills.

The school aims to help children realise their spiritual, moral and academic potential in a welcoming, secure and supportive environment centred on loving service to Lord Krishna (school's website).

The architects collaborated with the school community in the design process, to better understand the client's religious and cultural ambitions and to establish an appropriate architecture.

An architecture that includes a traditional Vedica style Hindu temple, a music and drama space, a spiritual japa garden, zones were children could be barefoot and environmentally friendly construction materials.

I love this idea of a miniature road for children to ride their small cars and bikes around their school - learning road rules and giving them a miniature world of their own.

The spiritual focus or feature of the school is the temple - with all teaching spaces facing it.

Whilst the other side of the classrooms features covered outdoor teaching areas and landscaped playgrounds.

The entire school is viewed as a learning environment, where the environment is seen as a curriculum resource - educational and play gardens with fruit trees and herbs, spiritual gardens, exercise gardens, ecology and wildlife habitats, recycling gardens, outdoor dining, and frameworks for future expansions.

All space within the school (music and drama rooms, entrances, dining areas) are interconnected displaying the philosophy of a cross-curricula approach.

Dining is an important aspect of the school day - with the organic vegetarian food blessed by the dieties - children and staff sit together on the floor - the act of eating becoming also a lesson in social etiquette and respect.

Some of the food is grown on the site in the school's allotments.

Each classroom contains a classroom shrine and quiet area, an area for ICT/whiteboard projection and an area for art and science experiments.

The entire building is designed for maximum natural light and optimum thermal comfort using insulation, under floor heating, acoustic linings and natural ventilation, whilst carbon dioxide sensors display air quality. Rainwater is collected from the sedum covered roofs is used to water the garden.

The architecture successfully implements the school's philosophies - utilising natural resources and encouraging children to be sensitive to their surroundings and each other.

Via ArchDaily and Imagine.

From drawing to a unique fluffy toy

2011-12-15T10:28:00.001+13:00

What a great idea! Send you child's artwork to Child's Own Studio and they will transform their creation into a custom made soft toy.

Much more fun than your traditional cuddly toy - and better than a beeping flashing thing... It's a piece of art! You could even attempt making your own...

Via Lovely Morning.

What are your earliest memories?

2011-12-13T13:45:00.000+13:00

I was looking through old photos the other day, and oh the memories...

Of my little sister and I having picnics with our teddy bears, making tents in the garden to sleep out in, and here, one of my favourites, this old tree in the park down the road that had a ladder reaching up onto a platform that was wedged into an old pine tree.

Here is my sister (in the green t-shirt) and I (in the pink) - sporting matching outfits made by our clever mum.

I remember this moment exactly - the view of the surrounding park (with the cows grazing), the view over towards Auckland city, and the fear I felt of not wanting to go too close to the edge!

Unfortunately the tree was with its viewing platform was cut down for being too "unsafe" - I remember that sad moment too.

As designers we must reflect back to our earliest memories - to gain a deeper understanding on children's experiences of space.

So, what are your earliest memories?

A centre in Israel that sits atop public space - fostering community

2011-12-09T20:53:00.001+13:00

This Educational Campus was built as part of a winning entry community hub - which included an auditorium, a sports centre, a residential tower and an educational wing, around a public space - serving as a vital communal connection space.

The architects Mayslits Kassif Architects designed the two kindergartens on the top floor of a two storey long horizontal building.

The woven ground floor timber structure is the public space and separates from the upper floor kindergartens. It creates a light filter and playful articulation of horizontality and linerarity, and is inspired by traditional handcrafted Tel-Avivian brise-soleil architecture, providing solar protecting whilst enabling an air flow through the facade.

Internal courtyards provide semi-sheltered space for play.

The colours and materials used provide both visual orientation and distinction of space, as well as sensual stimulus, creating a rich and exciting learning environment for the children.

Here you can see diagrams that consider sun, visual connection, colours, topography, spatial layout, and form.

By placing the children's realm on the top floor and allowing for communal public space beneath - the children are separated physically but are still connected visually - allowing them a sense of the collective, and of belonging to a community.

Via ArchDaily.

And the winner of the Sustainable Schools Future Proofing Schools Competition is....

2011-12-08T17:15:00.001+13:00

CMA+U and team. The competition asked for ideas for the next generation of relocatable 21st century learning spaces.

CMA+U's design entry was based on an idea of 'click-learning' modules - enabling extended learning.

A CNC fabricated timber system allows for the enture structure to be flat-packed nad easily assembled on the chosen site. The design also integrates functional storage and partitions, display and learning 'pods' holistically into the design. Whilst powder-coated metal/timber panels add fun and choice to the scheme.

The flexibility of the structures construction allows for changes to be made depending on climate - and blurs the lines between inside and outside.

Via ArchDaily.

A special school in Japan that uses a metaphor of a small town

2011-12-07T09:18:00.001+13:00

Inariyama Special Education School in Chikuma, Nagano, Japan is designed by Japanese practice Atsushi Kitagawara Architects.

Containing a number of units, the architecture is conceived of as a small town - combining outdoor courtyards, open spaces, small vegetable fields to stimulate activities for both the children and the local community.

Utilising traditional Japanese wood construction techniques, the school is almost entirely made of lumber form the Nagano prefecture.

The steeped roof pitch and abstract branch-like structures clad in yellow gives the school a unique identity that they can call their own.

The choice of materials and construction has meant a low energy consumption and carbon dioxide emissions.

The use of traditional construction techniques and natural and local woods, creates a beautiful, healthy atmosphere - promoting comfort and exploration.

Overhangs and louvres control the amount of light to flood into the interior - whilst different sized windows speaks of a child-scaled architecture - breaking down the fairly large facade.

Overall it is an architecture that fosters community - serving the needs of both children and adults alike.

Via DesignBoom

A useful spatial design guide from community playthings

2011-12-01T14:26:00.001+13:00

Community Playthings, a company that manufactures wooden products (such as tables, chairs and storage units) have collaborated with child care experts in America to create this design guide (2009). Whilst it works to "show off" and advertise their products to early childhood practitioners and may not be exactly architecturally inspiring, it does offer some good practical advice for when considering space in an early learning centre (I've bolded the keywords):

The importance of space

"Our designs shape children's beliefs about themselves and life. In a well designed area, children are engaged and feel secure. A well designed area can facilitate predictable, consistent and intimate care for each child" (Olds, 2001).

Too often spaces for early childhood are in society's cast-off spaces: church basements, converted warehouses...and even "purpose-built" centres are often designed more to the adult's needs rather than the children's.

A good early learning space is predictable, has clear boundaries and pathways, enables movement and exploration, privacy, variety, is challenging, flexible, stimulating, inviting, welcoming and homely.

Activity Areas

Community Playthings advocates an "open-structure" room layout - therefore allowing the children access to choose from a range of "activity stations" - reading, block-area, an area for projects, an area for active play and outdoor play space. They make the point that this type of layout best allows children to follow their natural interests and impulses - the children can decide what they want to do and for how long - helping them develop their own routines and supporting happy and motivated play.

Anita Olds describes five attributes to consider when planning activity spaces: location, boundaries, play and sitting surfaces, storage and mood.

Location

Predictability: "Institutional settings are inherently unpredictable: one is never sure what will happen next, who will arrive, and for what purpose. Unpredictability increases children's lack of ease and control" (Olds, 2001).

Olds stresses that whilst children love to explore and discover, they also rely on a level of predictability and like to be in control of their environment. Therefore it is important that entrances, exits and pathways are clearly defined, whilst activity areas are "inviting islands" - with room to move around, and that rooms that are arranged as clusters rather than using corridors.

Regions & Zones: Community Playthings state that the early learning centre works best when divided into a wet region and dry region.

The wet region includes: the entry zone - where children's personal things are stored, and space where the children can sit and wait for parents; and the messy zone - can contain tables, chairs, easels woodworking benches, sand & water centres, a nature study, and a kitchen area.

The dry region includes: the active zone - supporting motor play, wheeled vehicles, music and movement, climbing and dramatic play; the quiet zone - containing books, blocks, construction toys, puzzles, games, and soft cushions for a comfy and cosy corner; and finally the outdoor zone - containing the playground, natural elements such as climbable trees, hills, mud, sand, plants, flowers, as well as paths for biking, scootering and other wheeled vehicles.

Boundaries

Well-defined boundaries protect children from traffic, lunch and other distractions - and efficient boundaries can double as shelving, display or movable screens...

Paths: well-defined pathways allow children to move quickly and easily from one activity to another. Different types of paths can allow for different experiences and behaviours: "a meandering pathway with forks and T's encourages shopping for an appropriate activity and perhaps observing the activities of others. A straight pathway with one beginning and one ending emphasises reaching the destination. Unbroken paths encourage, perhaps even insist upon, running" (Greenman, 1998).

Movement: children need scope for movement and teachers can direct movement so that it is safe and doesn't disrupt other activities. Climb and slide equipment can suggest appropriate activity for children.

Freedom to explore: children need to explore using all of their senses, Therefore it is important that space allows children to move, explore and experiment - whilst providing a range of sensory experiences. "If you want to do something good for your child...give him an environment where he can touch things as much as he wants" (Buckminster Fuller).

Privacy: "In an ideal setting, the children have access to rooms where they can withdraw from the main group if they wish, to play without interruption, to relax and daydream" (Dudek, 2000). It is important that children have space to take time out in, a protected space - such as cubbies and comfortable corners, where they can have a bit of privacy.

Play and Sitting Surfaces

Variety: It is important to consider a wide range of different spaces and textures to support children's many different activities - stimulating their imagination and curiosity - and keeping them interested.

Storage

The need for storage is a very important component of early learning centres.

According to Jim Greenman (1998), good storage is: located close to the point of use, able to comfortably hold and display contents when open, the right size and shape for the space, aesthetically pleasing, clear and understandable to its user, whether 20 months old or 20 years old, and safe.

Storage can also combine display for children's objects,sculptures and nature exhibits.

It can also be holistically incorporated into the overall design of the centre's layout - to be used as flexible movable partitions - to easily manipulate the environment, and even combine elements of play (for hiding and sliding on?).

Mood

The amount of space in a room and how it is arranged affects children's behaviour - a tight space may encourage working together, but can lead to aggression and frustration. Reducing clutter and using flexible furnishings can maximise use of an area. Whereas, too much space can cause children to be restless and unfocused and reduce interaction with peers.

Ann Epstein (The Intentional Teacher) points out that "When children are in a large space, they feel small in comparison to their surroundings, and time seems to pass more slowly for them. When children are in a play house, in a play yard tent, or under a table, they feel large in comparison to their surroundings, and attention seems to be sustained. Perception of the size of space in which children play affects the quality of the play and thus the potential for learning."

Therefore, rooms should have a balance of well-defined spaces for a variety of activities, suggesting moods that reflect the task of each "mini-environment". For example, the reading area should be quiet and soft, whilst the art area - colourful and creative. Children take cues from the environment to regulate their behaviour.

Research shows that institutional settings are stressful for children and can have a negative effect on their development. Therefore, it is important to create a well-organised and homely environment, so that children can be relaxed, comfortable, and free to learn - encouraging positive behaviour and interaction.

Good design can create a sense of welcome - curving planes give a sense of warmth and nurture, whilst straight lines can appear hard, obtuse angles are inviting, whilst acute angles are rejecting...the whole space must be intimately scaled and child-oriented.

"A spirited place satisfies children's souls. It possesses a wholeness that makes the hear sing, the soul rejoice, the body feel safe and at rest. It is the spirit of the place that makes it memorable, that expands our sense of possibility and puts us in touch with what is most loving, creative and human about ourselves" (Olds, 2001). As Olds describes here, a memorable centre is a place of wonder and enchantment - it is where the mysteries of children can be given full expression.

Equipment and Materials

The guide describes the need for equipment that stimulates and is complex enough to capture the children's interest.

Kritchevsky (1977) describes four types of play equipment:

A Potential Unit: a clearly defined space with no play materials (e.g. an empty table).
A Simple Play Unit: has one obvious use, no sub-parts or additional materials (e.g. a swing).
A Complex Play Unit: has sub-parts or several materials that allow improvisation. Can consist of a number of simple play units. Allows for a higher level of interest.
A Super Play Unit: has three or more play materials (e.g. a corner with dolls, dishes and costumes).

Anita Olds (2000) describes the following contrasts as offering the child stimulation:

In/Out: the contrast between indoors and outdoors (accented by windows, porches, fences, transition areas)
Up/Down: varying heights of floor and ceiling (steps, ramps, lofts)
Light/Dark: bright areas and dimmer corners (lattices, screens, curtains, awnings, shadows)
Exposed/Tempered: wet and dry, hot and cold, windblown and still (porch, garden wall, shrubs, shade)
Something/Nothing: the contrast between a wall and a window, empty or cluttered space. (window seat, arches, alcoves, corners)
Order/Mystery: the contrast between order and chaos, predictability and surprise (partially concealed entrances, winding paths, possibilities for discovery

Via Community Playthings pdf document: Pre-K Spaces: Design for a quality classroom.

A kindergarten module of containers + cool magnetic interactive facades

2011-11-29T17:25:00.001+13:00

A kindergarten that cleverly combines a modular approach reusing old industrial shipping containers with an innovative approach of colourful magnets - offering a fun way to brighten up a boring and cold facade and encouraging fun and play all at once!

Kindergarten Ajda's new modular extension in Ravne na Koroškem, Slovenia, designed by Architektura Jure Kotnik - was built to replace the small temporary container solution that the architects designed previously to provide immediate relief for lack of kindergarten space (see below).

Like a parasite the container structure attaches itself to the existing building.

The architects collaborated with sticker artists Kitsch-Nitsch to come up with a way to transform the cold steel facade into something more child-friendly.

The solution? Colouful vinyl stickers - creating an eye-catching and interactive facade, that encourages the children to directly interact with the building.

Limited to not only the exterior, but the interior walls and doors also...what a fantastic idea that provides opportunity for collaborating with artists and that can be integrated into any early childhood setting!

When the centre decided to expand further, the three old containers were recycled and another 13 were added...

Showing the ease with which container modules can efficiently be placed on site and manage the centres' size - allowing the building to grow bigger or smaller, depending on demand.

Consisting of modules of three classrooms, two covered terraces, two washrooms and a multi-purpose entrance hall - linking all of the spaces.

The covered semi-outdoor terraces in teak wood - allow outdoor play whilst being protected from weather inconveniences all year round.

The new new addition also features a different range of magnetic stickers - which are more simplified with fewer colours and a range of different shapes, which allow the children to create their own pictures.

This project demonstrates how containers can provide a quick, easy and cost-effective solution for growing early childhood centres' needs - that can then be further reused and recycled and provides a good example of how temporariness and slim budgets are no excuse for the absence of child-friendly design.

And Architektura Jure Kotnik are on a roll with cost-effective child-friendly early childhood architecture, designing also the modified Kindergarten Keckec, (which I have blogged previously here) showing how a simple building can be easily modified to be interactive and playful.

Via ArchDaily.

Projects in Argentina and France transform the cities cracked pavements into art

2011-11-29T11:36:00.001+13:00

Like Aldo's playgrounds, that saw vacant lots of space in Amsterdam being transformed into playful spaces for children...

Groups of artists in Europe are working with their public city space to create (playful) art for others' enjoyment.

In Argentina, artists are working (literally!) to improve their city's neighbourhood by fixing the holes in their pavement from broken tiles with new handcrafted replacements of their own. Their website even offers step by step instructions so that you can make your own.

And French artist Juliana Santacruz Herrera draws attention to Paris' cracked pavements with her "yarn-bombers" (a popular concept being done all over).... For more go here.

Via treehugger.

The child as an acting citizen in the world

2011-11-25T13:14:00.001+13:00

I was reading this article today and came across this quote, which is talking about the adult 'kidification' of spaces which has been and still is a reflection of the interior 'decorations' of many schools, that patronises children, and treats children as passive innocents needing to be "filled with information" (Tarr, 2001).

"He or she is not an innocent, apart from the world, to be sheltered in some nostalgic representation of the past reproduced by adults. Rather the young child is in the world as it is today, embodies the world, is acted upon by the world - but also acts on it and makes meaning from it" (Dahlberg, Moss & Pence, 1999: 50-51).

Photograph via The Glow.

flatout frankie

2011-11-24T17:43:00.001+13:00

Inspiring creative and active play and 100% recyclable are both things that I like to hear.

That is why I love this range of 'toys' designed by clever kiwis flatout frankie based on the oh so simple cardboard box.

Here is a plane...

A drawing station....and an oven.

Oh the possibilities of the cardboard box!

Via December/January 2012 issue of Homestyle magazine.

Rooms within rooms or a mini suburb?

2011-11-23T21:53:00.001+13:00

I love the work of Japanese architects Suppose Design. Scouring through their website I found these concept images. Unfortunately I can't find any information on them.

A miniature suburb? A scattering of playhouses? Or rooms within a room?

The concept of using rooms within rooms is a concept that has frequently been adopted by architects when designing children's spaces. A tool that allows for the break down of space or scale providing children with smaller, cosier spaces to call their own.

Adopting the metaphor of a small town has also been a popular approach when designing early childhood centres - giving children a sense of belonging to a community and preparing them with life skills for dealing with the 'real world'.

Here, each mini 'house' exhibits a different form and materiality (I like the one with the blackboard surface).

Soft, colourful mats (furnishings) makes for a comfortable play surface within the 'play-house'.

Deep inset windows provides a ledge for sitting on and socialising.

An interesting initial concept... Now I would love to see it realised!

Via Suppose Design Office.

An article in Monocle that talks of "a new breed of kindergarten architecture in Japan" made to feel more like a home

2011-11-23T17:28:00.001+13:00

In Monocle's September issue - they look at school architecture, and those countries that are with architects starting a new school building revolution: "demonstrating that a healthy learning environment with plenty of light and natural materials means happier children and long-term economic benefits".

In their article: 'Best in Class - Global', Monocle explains how in Japan recent projects are demonstrating a new breed of early childhood centres, which are designed to feel more like homes than schools.

Umenosato and Wada kindergartens in Japan, designed by Moo Architect Workshop:

Wada Kindergarten

When Yoshiji Takehara (of Moo Workshop) was hired to design a new early learning centre, he decided on a contrarian approach. He decided to give the school lots of "wasted space" - alcoves, cubbyholes and meandering hallways.

His aim was to make the children feel at home. "Kids find comfort in the in-between spaces that adults have no use for," says Takehara. "By having these hidden places to explore, they feel that it belongs to them."

Wada Kindergarten

His idea came from his wide experience designing homes and watching children play. Too often, he explains, builders make homes and schools that resist wear and tear, and can be easily cleaned, but aren't child-friendly.

Monocle suggests this new-found awareness into raising standards in the design of early learning spaces is partly down to the competitiveness in Japan. Explaining whilst reputation and curriculum is still the benchmark, schools are now having to try harder at marketing themselves. There is also now an awareness that children seem more energetic at schools built from natural materials that aren't just soulless concrete boxes.

Umenosato Kindergarten

Umenosato, in Tokyo, designed a year after Wada utilises cut-outs in the ceilings and walls - allowing sunlight to pour through. The floors are made of a mix of cherry, walnut, oak and beech and there are plenty of small spaces for the children to wedge themselves into.

Umenosato Kindergarten

Design features we can learn from:

Home away from home: to design with the 'home' in mind, so that the child feels at home.
Interest: Randomly placed wooden pillars, classrooms of varying sizes and meandering hallways create quirky spaces that children can explore and play in.
Access: Windows are set low enough for children to look outside and wide windowsills double as loungin areas.
Design: The buildings' pillar-and-beam design is a hybrid of traditional Japanese carpentry and a modern use of space.
Environment: The children are surrounded by natural materials - unvarnished wood is used for pillars, beams, walls and floors.

Via Monocle magazine.

A centre in France based on a metaphor of a cell

2011-11-21T17:29:00.001+13:00

Taking the design metaphor of a cell, this centre situated in Sarreguemines, France designed by Michel Grasso and Paul Le Quernec is interesting in a number of ways.

The idea of the early learning centre as a cell...a reference to nurture and growth perhaps? The architects have placed (accordingly) the nursery at the centre representing the nucleus ('the control centre of the cell'), the surrounding gardens for play as the cytoplasm, and the enclosing curvilinear boundary wall as the cell membrane.

The design utilises a number of organic 'leaf-like' forms, the entrance opening up and inviting visitors into the circular central atrium or 'nucleus' and the children's play/activity rooms opening out from it.

Here you can see the architects vision for the building to eventually be immersed in greenery - thus it will seem like entering a great dense forest.

The internal layout:

Each room is unique, yet all opening out from the 'nucleus' and including bathrooms, kitchens, dining and play rooms. Coloured lighting and flooring is used (as is common) to distinguish each room from each other.

The design considers the child with its use of fluid curved walls and ceiling - promoting both movement and enclosure, of exploration and safety and security.

The scale of the child has been considered with its varied ceiling heights creating a wide range of space and volumes and thus experiences.

Here you can see the construction of the internal curving storage units - which have the benefit of not only being functional but look to be fantastic for climbing and sliding on!

Via ArchDaily.

A garden city of children

2011-11-17T16:01:00.001+13:00

"The school of tomorrow will be a garden city of children; that is to say a place of many shelters - a township, if you will, of small schools built as one community but with every shelter organised as a separate unit... It is also a self-contained unit or school home; it has its own Head; it also has its own bathroom, its own equipment, and its own day, adapted to the needs of children at a specific stage of development (Margaret McMillan, 1928).

Margaret's vision for early childcare that was to liberate children from the cramped slum-conditions of industrial London.

Here, her first nursery in Deptford, London,1928 - a simple rudimentary building with a garden where the children could move and play freely and appreciate the beauty of nature. A building not so dissimilar to the ones used for childcare in New Zealand today...

Via Kindergarten Architecture by Mark Dudek.

To be or be?

2011-11-17T10:35:00.001+13:00

A very true mantra - that we must always remind ourselves of.

Via Repurposed Playground.

Stickers that transform your wall from drab to fab

2011-11-16T18:50:00.001+13:00

And once you're over one set, peel off and replace with another!

Blik offers a wide range of wall stickers designed by a selection of artists and designers and pretty reasonably priced too! A great (quick and easy) way to brighten up any wall - and making for a much more playful environment.

Imaginary Castle by Patrick Hruby.

Dangly Carrot, Build-A-Bot and Doodle by BabyBot.

Sock Monkey, Skyrides and Do Re Mi Quack! by Threadless.

Caterpillar, Flutter and Cloud by Christy Flora.

Via RaneyTown.

Playful learning

2011-11-16T09:49:00.001+13:00

Check out Playful Learning for loads of inspiration and resources for meaningful learning for both children and adults to experience together.

A fantastic 'reading' space

2011-11-16T09:18:00.001+13:00

"Children need spaces where the imagination can flourish; 'Imagination Retreats', like play-corners..." Christopher Day, 'Environment for Children'

Photo taken by Stephanie Rausser via Repurposed Playground.

outdoors indoors?

2011-11-15T08:17:00.001+13:00

Again, Japanese architects inject a little play into their small-scale housing designs...

'Outdoors indoors' is a fun house designed by Be-fun architects - sporting an indoor climbing wall and a ladder that leads to a roof terrace.

Showing that a house doesn't just have to be floors, walls and a roof - but can offfer a multitude of experiences.

Via DesignBoom.

Traditional and beautiful children's structures in Asia sharing a common material

2011-11-14T12:06:00.001+13:00

Three designs in Asia that utilise local bamboo and weaving construction methods - creating magnificent eco-friendly structures for children.

1. The ecological children activity and education centre located in Koh Kood Island, Thailand - designed by 24H architecture is part of a series of ecological projects for the Six Senses Resort on the island.

The children's centre design teaches and makes the children aware of ecological principles as well as being a space for children to hang out and play in - housing a cinema area, library and reading zone, and art room and music room.

Structurally made from bamboo and local River Red Gum for the interior - the large free-flowing (sting-ray-like) structure also caters for a multitude of cosy spaces within this larger volume - shading from the sun and rain.

2. Also by 24H architecture in Chiang Mai, Thailand is the private and Buddhist-inspired Panyaden School - which aims to instill principles of green living into the students - so that the children can become future ambassadors for this way of living.

24H designed a series of organic leaf-like structures inspired by the local antler horn fern, which are organised along a path.

There are two types of structure: the classroom pavilion, featuring rammed-earth load-bearing walls, and glass bottles and washing machine windows allowing light to flood in; and the sala pavilion type, featuring bamboo bundled columns reaching up to the bamboo canopy, used for assemblies and dining.

3. Lastly is the Green School by PT Bambu architects in Badung, Bali, Indonesia - set up by environmentalists and designers John and Cynthia Hardy to demonstrate and motivate communities in the area to live sustainably.

One of the ways they are doing this is by showing the locals how to build with local bamboo, where they have also set up a foundation that offers bamboo seedlings to farmers encouraging its use as a building material, thus reducing the further depletion of rain forests.

The school is set amidst a lush jungle of native plants and trees and organic gardens and utilises a number of alternative energy sources, including a bamboo sawdust hot water and cooking system, a hydro-powered vortex generator and solar panels.

The beautiful bamboo structures range from large-spanning tent-like gathering spaces to smaller classrooms - and shows the multiple architectural possibilities for the material.

The school inspires and activates its students to be more engaged and passionate about the environment and the world in which we live.

Via ArchDaily.

Winding paths

2011-11-13T11:07:00.001+13:00

"Children need paths to explore, to take bearings on the earth in which they live, as a navigator takes bearings on familiar landmarks. If we excavate the memories of childhood, we remember the paths first, things and people second - paths down the garden, the way to school, the way around the house, corridors through the bracken or long grass." Bruce Chatwin, 1991, 'Winding Paths': 19

Photo via Flickr.

A centre in France which makes good use of the ceiling and floor planes

2011-11-11T12:20:00.001+13:00

Designed by Atelier 9.81 is the Digue Dondaines Nursery fitting out the ground floor of an apartment complex in Lille, Northern France.

Making use of the space available to them, the architects have concentrated on creating stimulation for the child inhabitants through creating both interesting ceiling and floor planes.

They also designed a nice wee graphic - which is exhibited on the surrounding walls and glass windows - allowing for design continuity, a unique edge and a bit of privacy from passers by.

The use of (a minimal) colour palette emphasises the sculptural quality of the spaces, whilst the ceiling projects white circle (cloud-like?) disks - set at different angles and heights.

Here you can see the sloping topographical floor terrain - challenging children's physical motor skills and co-ordination - whilst also encouraging play.

Via ArchDaily.

Children's own worlds

2011-11-10T11:47:00.001+13:00

"Ideally a child's play space should never be finished, it should be in a constant state of change...Children, you know, have a way of creating their own worlds." Susan Goltsman, California, MIG. 'Kids Don't Need Equipment, They Need Opportunity' by Ellen Ruppert Shell (1994).

Quote via Project for Public Spaces (PPS), photo via Stephanie Rausser Photography.

A cool modular furniture system inspired by a children's toy

2011-11-10T11:11:00.000+13:00

Chidori furniture designed by Japanese architects Kengo Kuma Associates is a system of wooden sticks and square planks, which slot together without glue to form tables or shelves and is inspired by the traditional Japanese toy, Chidori.

The design is a part of the East Japan Project, a collaboration which aims to facilitate a "new lifestyle" - creating highly flexible products that can evolve into many forms, using time-honored materials and techniques, and utilising natural, local and sustainable materials.

All values that I feel are in tune with the type of thinking that can be applied to early learning environments - flexible, modular systems utilising local knowledge and materials.

Such a system could perhaps work quite well in the EC centre... (Apart from perhaps those sticky-outy ends, which may cause a few sore head bumps!)

Via Dezeen.

Child Forum offers a comparative analysis of party policies as it relates to NZ's upcoming election

2011-11-07T16:55:00.002+13:00

The Child Forum is a website which offers "fresh thinking, advice, research, analysis and information" on childcare and early childhood education.

It is also providing a (continually updated) summary comparing New Zealand's political parties' policies as they relate to early childhood education - including topics of funding, management, as well as family, community and cultural issues.

The parties appear to not yet comment on improving quality as it relates to the architectural environments of early childhood. However, Labour and National are yet to formally release their policies...

National has stated however, that it will be implementing new web-based tools for "rating" ECE services - and helping parents choose an ECE centre.

Education Minister Anne Tolley says "parents told us they want to know their children are being educated and cared for in a high-quality environment".

Perhaps such a tool providing both an outline of centres' philosophies surrounding their learning environment and photos describing it - will encourage New Zealand centres to improve the architectural quality of their environments?

See article on Stuff.

It's movember time

2011-11-07T12:37:00.000+13:00

I just had to post, as this was too cute...

Via summer-ize.

A new patio transforms an existing nursery into a "living landscape"

2011-11-07T12:27:00.002+13:00

'Puzzle Piece', a designed canopy, situated in Spain and designed by Romera y Ruiz Arquitectos has won the ‘World’s Best New and Old Building’ award at the World Architecture Festival (WAF) Awards 2011.

The design has been described by one judge, Trillo de Leyva, as "a new organic landscape that grows against the rigid typology of the original building...the bright colours and soft shadows turning it into a living landscape".

The brief was to design a cover for the original building's patio to provide a naturally ventilated area giving the young children protection from the sun and rain whilst engaging in play.

The canopy structure is suspended from the existing roof structure (as seen above) - whilst the minimal pillars assisting support are coloured different shades of green - like a forest - they enable the kids to swing on and interact with them, whilst blending in with the surrounding vertical striped coloured walls.

Here are the architects concept diagrams, which takes into account people's circulation, rain and sunlight.

An example again of how an addition (like Baupiloten's) can transform an existing centre - to one that is a more living experience for the children.

Via DesignBoom.

And the overall winner, winning 'World Building of the Year' is this office building in Barcelona, Spain designed by Cloud 9.

Picked for its ambitious, imaginative and bold approach of tackling issues of sustainability (it is almost a net zero building), the head architect Ruiz-Geli on accepting the award said he hopes the building will act as a 'seed for an environmental revolution' - and with his children (top left) he added, 'these are our clients' (his son Lago helped with choosing the green colour that dominates the building).

Yes, Ruiz-Geli, nicely said - children should ALL be our clients - they are in fact our future...

Via WAF News.

thesis format (to date)...

2011-11-04T10:46:00.003+13:00

I gave a presentation of my research to date on Monday - presenting my current thesis structure with a selection of blog posts as they fit into the structure (below).

Was very happy to get a wonderfully positive response to the blog as a research tool - and its ability to create a dialogue or discussion and community with others interested in the topic.

(To view, click on the image.)

Now to get some designs going!

(Watch this space...)

Not playgrounds but PLAYSCAPES

2011-10-29T14:05:00.002+13:00

I've been following playscapes for a while now and thought I'd share some of my favourite posts with you.

I love Paige's description for 'why playscapes'?:

"Because it's difficult to find non-commercial playground information. And I find that frustrating.
Because a playground doesn't have to cost a million bucks and come in a box. In fact, it's better if it doesn't.
Because playgrounds are under-recognized as an artistic medium.Because everybody loves a playground."

I agree.

Snug playgrounds is a set of play components (such as the loop, cone, bump, wave, wall, mound) which can be arranged (indoors or outdoors) into multiple combinations - allowing flexibility and a bit of creativity!

Designed for the KOBE Biennale 2011 by 24°Studio is the Crater Lake - a temporary structure located in Japan, which incorporates space for climbing, sliding, hiding, performing, space for quiet relaxation and flexible (moving) seats! Many ideas here for incorporating such qualities into the architecture for young children.

Here (left), is a sculptural, playful installation in the Netherlands by AnneMarie van Splunter, which offers a wonderful multitude of ways to interact with it - sitting, lying on your tummies, sliding, reading a book...as well as the modules enabling a number of ways for configuring shapes. (Right) is a play structure that is part of a traveling exhibition called the Geometry Playground that again uses parts that fit together to create a changing, curving, intertwining climbing structure.

These playgrounds in Singapore I thought were beautiful with their use of colourful mosaic tiles creating a piece of public art. Designed by Mr. Khor Ean Ghee in the 1970s, he said: "We wanted to create something that was distinctive. My boss said to me that all the buildings along Orchard Road were not designed locally. So at least, our playgrounds should be."

The above shows that with a little imagination and creative thought we can go a long way to creating some unique and inspiring public spaces, with the added benefit of providing enjoyment for our youngest of citizens.

Via playscapes.

Cape Town named World Design Capital 2014/Matchbox turn old containers into early learning modules

2011-10-28T18:06:00.003+13:00

The World Design Capital title is awarded bi-annually by the International Council for Societies of Industrial Design recognising cities that use design for their social, economic and cultural development.

Cape Town's bid, "Live Design, Transform Life" focuses on dealing with the imbalances existing in their society through socially responsive design - to rebuild through community cohesion, reconnect through infrastructural enhancement and reposition the city for the knowledge economy.

Design Indaba ran a competition called Your Street Challenge, which was launched during the World Design Capital 2014 inviting creative proposals for how Cape Town's street life could be enhanced through design.

One of the seven shortlisted entries, was matchbox's proposal that proposes re-purposing shipping containers into early learning centres for disadvantaged communities.

Currently 80% of children in South Africa's townships do not have access to early childhood services - resulting in many children being neglected and unsupervised during the day. Existing centres are also often unsafe structures that are poorly insulated and unhygienic. A lack of access to early childhood education means children are falling behind in school and many are displaying anti-social behaviour and a high drop-out rate.

Matchbox hope to alleviate this problem by upgrading existing early learning facilities and creating new facilities with old shipping containers.

Using re-purposed shipping containers enables them to be modified in workshops (as colourful play modules, or sleeping, cooking and sleeping modules) and transported and arranged onto the selected sites as required.

Another of the proposals that takes children into account is this 'Kidz-Up City':

Which rethinks the traditional playground components - aiming to make them more inclusive with forms better suited to learning while playing.

Via CapeTown2014.

CALLING FOR HELP!!!

2011-10-27T21:36:00.000+13:00

After researching (and blogging) about the architecture of early childhood for the past 8 months I would love the opportunity to now test my thinking, knowledge and design expertise by working with any interested early childhood centres.

If you (or someone you know) owns, manages or teaches at an early learning centre and would be interested in working with me to see how your early learning environment might be improved through design (to be more functional, playful, beautiful and unique to your centre's goals and philosophies) I would love to hear from you!

Whilst this would be easier in Auckland, New Zealand, I would also be happy to try my hand engaging with (through skype, email, videos, photos) anyone from overseas.

Alternatively, if you have an interest in or are passionate about early learning and the environments this takes place in and wouldn't mind sharing your ideas with me, please do get in touch.

I look forward to hearing from you!

Jess

Auckland's (new) Wynyard Quarter a big hit with the kids

2011-10-27T19:15:00.002+13:00

I popped along to the new Wynyard Quarter at Auckland's waterfront over the weekend and was impressed to find the development so far not only respected the areas existing waterfront character but provided recreation space for both adults and children alike.

The playground (or 'playspace') was packed with kids - enjoying both natural elements (such as sand, shells and rocks), sculptures and some more traditional play equipment - all of which embodied an overall theme of an 'old seafloor'.

Reused and salvaged materials had been used - with even the court space utilising an old building foundation slab!

I love the choice of sand as a natural ground material instead of the artificial rubber matting frequenting most new playgrounds - which has the added benefit of providing extra play opportunity!

Even the colour scheme has been sensitively (and sparingly) selected to tie in beautifully with the surrounding area.

The most popular area for play appeared to be the artificial grass mound, which had kids climbing up and sliding down over and over.

And here, a rusted sea-shell provides a dark space for hiding.

Sculptures like these old buoys, provide not only visual pleasure, but can be used for climbing on!

Face painting was provided by the pop-up Winter Garden cafe...

And then there is the old tram which was brought over from Melbourne - but makes for a fun wee trip for the kids.

How nice it is to see kids enjoying a public space - laughing and playing nicely - making for a more enjoyable space for all!

A NZ designed toy for all ages to enjoy (and learn from!)

2011-10-27T17:54:00.000+13:00

New Zealand company the Think Farm has designed Cuboro - beautifully crafted blocks which once arranged becomes a marble track where you can watch your creation in action!

Designed originally as a simple three-dimensional puzzle game for special schools - the "toy" was developed for its ability to teach kids thinking strategies and to improve concentration and cooperation.

And this is not just for the kids! The blocks have also been designed for corporates to alleviate stress.

From Werner Jundt, 2005: "According to the modern neurobiological research the human brain keeps up its ability for modification for life. Thinking strategies can therefore be improved and trained until old age. With its seemingly endless possibilities for combination cuboro offers limitless challenges. The player can improve cognitive abilities such as three-dimensional and combinatorial thinking and operational planning while at the same time improving concentration and memory. This "toy", originally designed for children, has proved a "mind-challenger“ which not only entertains but leaves a lasting effect in players of all ages."

Whilst fairly pricey - the toy looks sure to last, to be passed down from generation to generation - meaning countless hours of engaging (and challenging) fun!

Watch a video of the "toy" in action here.

Via Urbis Magazine.

The OECD's resources promote quality learning environments

2011-10-26T12:20:00.002+13:00

The OECD (Organisation for Economic Co-operation and Development) is a forum where the governments of 30 democracies, including New Zealand work together to address the economic, social and environmental challenges of globalisation.

The OECD also has a strong focus on education, including early learning - working to assist governments to develop policies that deliver quality learning programmes and quality learning environments in today's rapidly-evolving knowledge society - offering useful statistics and resources on emerging issues and topics, such as:

This annual publication: 'Designing for Education: Compendium of Exemplary Educational Facilities 2011', which showcases over 60 recently built or refurbished educational facilities from 28 countries, each of which demonstrate "state-of-the-art" educational design.

This BBC Slideshow - Knowledge economy: Global best school buildings, which gives a glimpse into some of the educational buildings featured in the (above) book, Designing for Education:

From top-left clockwise: the interior of Tuomarilan kindergarten, Espoo, Finland, and (right) it's multicoloured exterior. Bottom-left is the Aadharshila Vatika in Delhi, India, which is praised for its "bold use of colours, variety of non-regular spaces and customised furniture and fittings, creating a playful ambience". And finally, the much-celebrated Fuji Kindergarten, with no fixed walls between classrooms, and which incorporates living trees and a landscaped roof for play.

There is the database of Best Practices in Educational Facilities including a facility of the week, such as this example located in Glascow, Scotland, UK: Hazelwood School. Recognised for its multi-sensory design - creating a challenging and stimulating environment for all, the outdoor spaces, safety needs and special needs provision.

Varied wall and floor surface textures and built-in navigational aids - such as trail rails, varied ceiling heights, and the print, Braille, moon and graphical signage - help children to navigate around the building independently. The design is both imaginative and sympathetic to the school’s parkland context, with its use of natural materials such as wood, slate and cork.

And there is the multimedia page, which includes videos and powerpoint presentations, such as this one of the Fuji Kindergarten designed by Tezuka Architects, which embodies the idea of "a kindergarten as a huge playground for children's growth, a tool for fostering children".

I love how they give the camera to a child at the end of the video, where we get a glimpse of the playground from the child's view.

One of OECD's latest videos, 'architecture for learning' talks of how learning spaces can work to inspire students, explaining that schools that are successful inhabit the following attributes: "walls become windows, spaces are fluid, nature is respected, the outdoors is as important as the indoors", and is where "the building becomes a teacher, and a resource for learning".

A new Maori school in NZ that is to be a wonderful resource for teaching students of the areas unique biodiversity

2011-10-25T13:21:00.000+13:00

A new Maori immersion school Te Kura Kaupapa Maori O Te Kotuku designed by Brewer Davidson Architects and constructed by Naylor Love is a project that employed an approach of intensive collaboration with local iwi and whanau and which sits close to the magnificent Waitakere Ranges.

The school (or kura) has been awarded a NZIA Local New Zealand Architecture Award and is a Green Building Council School Tool pilot scoring 7 points out of 10, with plans to further enhance the site's biodiversity by: transforming the steep gully by eradicating the gorse and weeds and planting self-maintaining native bush of eco-sourced plants that belong to the Waitakere area and will attract native wildlife; to use the bush for teaching students about the plants, how they grow, what berries they produce, and what birds and other animals come to feed on the berries and live in the bush; and to have a school-wide project in which each new pupil provides a koha (donation) of a tree to plant in the gully.

The kura is designed as a clear flow of interconnected spaces enhancing the sense of inclusiveness and community - values that are central to the learning environment envisaged by the Whanau. Whilst the spaces are multifunctional, there is a clear delineation between the formal and informal. In this type of learning space, older children can help younger ones, and teachers can share knowledge and resources, whilst the space can also be used as a community centre for the whole whanau.

The NZIA describes the building as "a delight to be in", where "carefully considered cultural and teaching needs have been accommodated in a building that reinforces proudly the ambitions of the whanau and which provides an engaging and welcoming environment for the community... a unique, distinctive, community school that is rich in materiality and form."

Via NZIA Awards, Brewer Davidson Architecture and Naylor Love Construction.

A day-care winning proposal in Copenhagen that creates a dynamic and changing landscape

2011-10-21T10:18:00.002+13:00

Here is the winning design proposal for a day care centre - 'marthagården' by Dorte Mandrup Arkitekter + Leth & Gori Architects to be located in Frederiksberg, Copenhagen, Denmark amidst two existing villas and a garden.

The design works to create a protected and diverse environment for children to play, learn and relax - supporting and encouraging the pedagogical aims for children's successful development.

A rich diversity of spaces - the design includes a sunken courtyard, a rooftop playground of varying levels and a series of underground passages.

The design integrates architecture, design, nature and technology into a cohesive structure that grows out of the site.

A section.

An axo showing the organisation of spaces and connections to the existing structures on the site.

Here is a design that proves a building can in fact be a playground - creating a rich and diverse variety of experiences for children - like that of nature.

I look forward to seeing the finished building.

Here is a book that provides a wonderful array of inspiring new early learning architecture from Europe and Japan

2011-10-20T16:28:00.003+13:00

Kindergartens: Educational Spaces by Michelle Galindo showcases 60 contemporary architecturally designed early learning centres from around the world - celebrating fun, learning and creativity.

The book whilst does not delve deeply into the architectural decisions and repercussions offers a selection of beautiful images - providing inspiration and the variety of approaches according to the site and pedagogical context.

Here is a selection of just some of the book's examples (the book arranges the centres by their size, yet I am going to arrange them by their locality):

Europe

Kindergarten in Murcia
Cercadelcielo - Studio Architecture

Location: Murcia, Spain
Year completed: 2007
Size: 160 m sq., 24 children

Arreletes Day Care Centre
XV Studio

Location: Lleida, Spain
Year completed: 2008
Size: 254 m sq., 16 children

Corita Kindergarten
Galvez + Wieczorek

Location: Voldemoro (Madrid), Spain
Year completed: 2005
Size: 1,397 m sq., 8 children per group

This design was inspired by watching children and the time they spent on the ground - lying, sitting...as well as the time they spent looking up. Therefore, the architects deduced the importance of both planes - using different colours to differentiate the different spaces, and shafts of coloured light in the roof giving different moving light experiences throughout the day.

Las Vinas Infant Educational Centre
Solinas Verd Arquitectos

Location: Granada, Spain
Year completed: 2009
Size: 1,675 m sq., 20 children

This project takes the idea of permeability between the exterior and interior. Configured as two crossing axes, one with public activities and administration and the other, the teaching activities and 'home' rooms. All spaces receive natural light and ventilation.

Kindergarten in Rosales
Magen Arquitectos

Location: Saragosa, Spain
Year completed: 2009
Size: 1,720 m sq., 25 children

Located in an area of residential growth the kindergarten is the first phase of an education facility - kindergarten, dining hall/gymnasium and primary - are arranged in a u-shape. The design is based on children's perceptions - taking into consideration children's scale as well as the idea of different spatial experiences - through the use of space, light, materiality and colour.

Kinderland Westside
Raumhochrosen

Location: Bern, Switzerland
Year completed: 2008
Size: 350 m sq., 100 children

Situated within a shopping mall - this centre is based on the theme of "animals in the savanna" - like monkeys, the children have to interact with the centre's landscape where they can cross a ball pool, climb a climbing wall, cross a crocodile pit by a rope bridge to a climbing net and finally get to the safe gallery...and a children's theatre, puppet shop, doll's house and reading area set among a 'nest in the treetops'.

Company Nursery
Antonio Citterio Patricia Viel and Partners

Location: Verona, Italy
Year completed: 2005
Size: 690 m sq.

The nursery is part of the GlaxoSmithKline company campus - offering day care for the 1500 workers' children. The centre was to create a domestic space amidst a semi-urban area characterised by industrial buildings and warehouses. The building is arranged around a elongated courtyard, creating a protected playground space. The various components were produced in the factory, preassembled and mounted on site. The project is similar to that of the early modernists' functional kindergarten and school designs.

Day Care Centre for Benetton
Alberto Campo Baeza

Location: Treviso, Italy
Year completed: 2008
Size: 1,868 m sq., 100 children

This building is arranged as a square within a larger, circular enclosure made up of double circular walls. Open to the sky, four courtyards are created suggesting the four elements: air, earth, fire and water. The space between the perimeter walls serves as a "secret" place for the children.

Kindergarten Barbapapà
ccdstudio

Location: Vignoloa (Modena), Italy
Year completed: 2009
Size: 1,158 m sq., 60 children

The design of this centre was driven by again the contextual surroundings - it was to fit snug within the site and provide comfortable and protected spaces for the children - with a constant connection to the outdoors.

Kindergarten Dandelion Clock
Ecker Architekten

Location: Buchen (Odenwald), Germany
Year completed: 2007
Size: 630 m sq., 6-8 children (5 groups)

Educating children with physical or developmental handicaps, the kindergarten uses four simple modules of territories defined by colours, radiating out from a shared atrium. Repetitive framing allowed for factory production of large modular panels.

Kindergarten Bizau
Bernado Bader

Location: Bizau, Austria
Year completed: 2009
Size: 720 m sq., 20 children (2 groups)

'A house for children' - this modest centre integrates itself with the region's context and provides a relaxing space for the children with the interior made entirely from natural wood - pine and ash. The furniture was also made by local carpenters.

Kindergarten Neumarkt
Schneider & Lengauer

Location: Neumarkt im Mühlkreis, Austria
Year completed: 2006
Size: 1,065 m sq., 90 children (4 groups)

Daycare Centre Skanderborggade
Dorte Mandrup Arkitekter

Location: Copenhagen, Denmark
Year completed: 2005
Size: 1,045 m sq., 12 children (3 groups)

The design for this centre works to create a connection with the surrounding context - building character and environmental. The building's orientation utilises the best possible sun exposure and penetration, whilst the roof space extends the opportunity for outdoor play.

Ajurinmaki Daycare Centre
AFKS Architects

Location: Espoo, Finland
Year completed: 2009
Size: 1,065 m sq., 22 children (3 groups)

With three 'home areas' the building is shaped like a an organic, living entity poised in a sheltered embrace - with windows placed haphazardly - yet with the light tunnels allows light to fill the interior spaces.

Location: Krk Island, Croatia
Year completed: 2009
Size: 1,725 m sq., 72 children (4 groups)

Children's Nursery and Pre-school Hamm
Witry & Witry Architecture Urbanisme

Location: Luxembourg
Year completed: 2008
Size: 2,014 m sq.

This new early learning centre was built using low-energy principles - wood construction, insulated components, south orientation, a controlled heat and ventilation system and photovoltaic panels - where the current supply of energy is displayed to the children on an information board - making the children aware of the issue of renewable energy.

Asia

Location: Shiga Prefecture, Japan
Year completed: 2003
Size: 1,243 m sq.

Location: Tokyo, Japan
Year completed: 2008
Size: 1,351 m sq., 30 children (9 groups)

A retreat for both parents and kids to take time out from their shopping in

2011-10-14T15:30:00.002+13:00

Designed by Clare Cousins Architecture a 'parents retreat' located in Melbourne Central:

Clare Cousins recently conducted an interview with The Design Files where she spoke about her life and work.

One of her projects was this 'retreat' for parents and their children within a shopping mall in central Melbourne, a project that stood out as a unique and innovative example of a space that considers the needs of children and their parents (an idea that has so far been neglected in many city places).

Here is a space that provides parents room to comfortably feed and change their children, whilst also providing a safe and fun environment for children to relax and play in...

A space that encourages parents and children to take time out, have a rest and recharge before getting back to their shopping, with comfy chairs and playful elements such as ropes for swinging on and climbing, nooks for hiding...

Now it would be great to see this type of thinking applied to many more public spaces within the city - making for more relaxing, playful and friendly environments.

Via The Design Files, Clare Cousins Architecture and Melbourne Central.

Public Workshop and Build-it! (Disks)

2011-10-12T16:51:00.003+13:00

Alex Gilliam (an architect and K-12 Education expert) is the man behind 'Public Workshop' - 'a cheerleader of possibility' an organisation dedicated to helping individuals, schools and communities achieve collaborative design for positive social change.

Challenging, and redefining boundaries, Public Workshop through its many projects developing and leading participatory community design processes (Hester Street Collaborative, redesign of Sunshine School) seeks to approach a new way of thinking about designing architectural environments for children and young people.

Thorugh working with young people, Gilliam realised that there was perhaps a problem with the way we thought or learnt about architecture - the sequential process of learning first how to draw a line before you can put something together.

This led him to conduct experiments, including "tapping" into people's emotional reactions of buildings and public spaces, where he learnt that "the average person knows a lot more about architecture than we think they do" and that it can lead to more "meaningful conversations" and getting the "average person much more engaged in the design process..."

Some of Public Workshops projects.

A key aspect to Gilliams participatory approach is that it is multi-generational i.e. young children are paired with adults to conduct the same task - therefore both having equal opportunity to contribute something of value, and therefore giving them a sense of meaning and ownership of their places.

One project Gilliam developed was Build-It! be a building hero - a system of 'building disks' enabling kids and the wider community to create their own unique structural playspaces.

Each (recycled and recyclable) cardboard disk with its multiple slots enables for endless possibilities for transforming playgrounds, vacant lots, classrooms, your back-yard... And you can purchase them here.

Here are the disks in action! A trial run held at the National Building Museum's Great Hall - kids and adults alike collaborate to create a playground, climbing, hiding, imagining, whilst honing their skills in design and construction.

Via Public Workshop, Contour and KaBoom.

"Risk" and the Adventure Playground

2011-10-11T19:21:00.000+13:00

Are playgrounds today too safe?

An article written in the New York Times (July, 2011) discusses the disappearance of playgrounds like the one below from Riverside Park, Manhattan and questions whether we are going "too far" in our "safety-first" approach to child-environments with our excessive anxieties and concerns about child safety leading to the plastic, low, colourful and confined playgrounds we see today.

Critics are now raising concerns - saying that these "safe" playgrounds may stunt emotional development, leaving children with anxieties and fears that are ultimately worse than a broken bone (Tierney, 2011).

"Children need to encounter risks and overcome fears on the playground," said Ellen Sandseter, a professor of psychology at Queen Maud University in Norway - who identified six categories of risky play as: exploring heights, experiencing high speed, handling dangerous tools, being near dangerous elements (like water or fire), rough and tumble play (like wrestling), and wandering alone away from adult supervision.

"Children approach thrills and risks in a progressive manner...very few children would try to climb to the highest point the very first time they climb. The best thing is to let children encounter these challenges from an early age, and they will then progressively learn to master them through their play over the years."

Whilst parents worry that a rare fall and injury would develop fear of heights in a child, studies in fact show the opposite, showing that a child who is hurt in a fall before the age of 9 is less likely as a teenager to have fear of heights.

According to Sandseter - gradually exposing children to more and more dangers on the playground is using the same techniques developed by therapists to help adults conquer phobias, and that "paradoxically," the psychologists write, "we posit that our fear of children being harmed by mostly harmless injuries may result in more fearful children..."

Today's shorter equipment with enclosed platforms and rubber grounds may prevent injury, but some experts question their overall value.

Via the New York Times Website.

An adventure playground in Berlin: "Kolle 37" however is a place which instead of sending messages of parental fears and control, is a place where kids can really be kids, where they can explore, build, invent, create and play amongst nature.

With visits from 30 to 100 children aged 6 - 16 years every day, the adventure playground is located in the Prenzlauer Berg district of Berlin and part of a larger park complex.

Kolle 37 hosts a variety of events and workshops - with a pedagogical focus on the four elements of earth, air, water and fire. Here children have the opportunity to build their own huts, make fire, work in the garden, watch and work with animals or just play - enabling them to develop their creativity and skills with working with different materials and tools.

Described by architect Alex Gilliam (and expert on K-12 education) of Public Workshop as a wonderland of imagination and exploration and a social hub for the neighbourhood.

The children explore and test their built creations for their sturdiness, stability and load - it is this testing that enables them to learn, whilst the staff have developed a number of smart evaluative systems for ensuring the children's structures are safe.

Furthermore, Alex Gilliam says that in fact, the injuries are probably lower at the 'building playground' than typical American playgrounds, stating that there have only been two broken bones and a couple of stepped on nails, hinting that children are more careful when the perceived risk is high.

Promoting 'risk', Alex says: "It is remarkable and for many people, entirely counter-intuitive to think that actually giving children the opportunity to experience more risk, to have more ownership over the world around them, to learn the things that interest them and to actually fall down once in a while is actually a really good thing. However, injury data and my own extensive first hand experiences with empowering children to redesign, and rebuild the world around them absolutely reinforce the efficacy of these ideas."

Via Public Workshop, Playscapes and Kolle 37.

Also, see Kaboom - a non-profit US organisation dedicated to saving children's play and their blog 'Play Today'.

They are currently running an competition called 'Scary Playgrounds - Let's Find 'Em & Fix 'Em', which calls people to find America's scariest playgrounds so that they can fix 'em - the winner receiving a $2000 VISA gift card.

Casaurus: A dinosaur storage system slash playground

2011-10-10T12:59:00.000+13:00

Casaurus - a smart and playful dinosaur shaped storage system inspires reading and active play.

Designed by Koichiro Hoshino - for his thesis project at Tokyo University of the Arts the system utilises function and play - with storage for toys and books, a tail-like slide, ladders for climbing, and a reading 'nook' under the dinosaur's belly.

The project shows how functional objects can successfully include playful elements for children's interaction.

Via Inhabitots.

Starlit Learning Centre - a shining example of a fun learning environment

2011-10-09T16:00:00.000+13:00

The Starlit Learning Centre in Hong Kong has been designed to and been acknowledged as providing kids with 'the best environment for learning'. Designed by The XSS, the centre's design has been awarded an Asia Property Award under The Best Public Services Interior category.

Designed as a relaxing learning environment for children 2-6 years old to call their own.

The central focus or meeting point of the centre - the elevated stage provides the children with a performance area.

The spatial design is based on 'Ancient Rome' city planning - with famous landmarks linked by round plazas and other circular objects along an axial arrangement.

The interior spaces have been designed with the 'adventurous' child in mind - allowing for exploration and elements of surprise, with many secret spaces and blind spots designed to the scale of the child.

Taking inspiration from the 'garden' and the 'city' - the design utilises a imagery from skyscrapers and trees, whilst colour is used to set various 'moods'.

The use of round shapes is intended to give the children feelings of safety and security.

Via ArchDaily and Starlit Learning Centre.

Children, meet AIBO

2011-10-07T17:44:00.000+13:00

Conceived of and developed by Sony in the early 90's - AIBO, an Artificial Intelligence roBOt is able to "see" its surroundings by camera and understand spoken commands in Spanish and English - described as an autonomous robot, it is able to learn and mature based on external stimuli from their owner, environment and other AIBO's.

Peter H. Kahn, Jr conducted a study in 2006, which aimed to analyse pre-school aged children's behaviours with the robot toy. The children participated in 45 minute sessions in two parts: one part was spent interacting with the robot AIBO, and the other, a traditional stuffed dog called Shanti. A pink dog toy ball and toy dog biscuit were also used as props.

The children's behaviours were recorded and reviewed. Kahn found that whilst the children spoke about each in the same way, their behavours differed. The children engaged with AIBO in a more apprehensive way and attempting "reciprocity", whereas the children often mistreated the stuffed dog and "endowed it with animation".

For example, half the children said that both AIBO and Shanti could hear, yet they used far more verbal directives to AIBO than to Shanti.

This suggested that the children in fact did not believe AIBO to be strictly an inanimate object - but was 'real' - and therefore were not engaging in 'pretend play' - an important consideration to think about with so many children today engaged in technological play.

The study reveals some interesting concepts of what we consider as 'real' when we confront technological or 'artificial' nature - or how we behave towards to it - i.e. we may know it is not real, but behave as if it is...

Via Technological Nature: Adaptation and the Future of Human Life by Pater H. Kahn, Jr and Sony Europe.

Architects and designers in Italy collaborate to create a range of playful products

2011-10-04T10:51:00.000+13:00

Play+ aims to "better the quality of children's environments" extending upon Reggio Emilia's wider research on children's environments.

Designers from around the world share one vision, yet offer multiple perspectives through "listening" to children and interpreting them into designs - making richer sensory play experiences for the children.

The Play+Soft range of products are soft furnishings intended to enhance the landscape of the environment for young children - through a variety of textures, finishes (smooth, rough or elastic) and a chromatic range of colours (instead of red, yellow, blue).

The idea behind the range is that an environment for children should not merely be a "backdrop" to a series of activities, but rather a protagonist in the construction of the identity of each child - fostering "self-learning" and creating a place that supports and stimulates the child's growth and development.

3D Landscapes

Dunes, waves, flower & stalk, hills, sandscape, landscapes and 'play' platform...

Microsites

tier, atoll, loop, cocoon, island, puddle, igloo, crossing and holes...

Transformable seating

molecules, snake, on-off cilinder, on-off cube, chaise longue, big, sofa, key stone, bugs...

Seating

u-seat, star-seat, zot, beach bench, dome chair, doum pouf, oumi seat, swiss cheese, chocolate...

Play structures

swing, waves, smell tunnel, mirror triangle, cone swimming pool, lem, 3d hut, cactus, mirror labyrinth, soft dino...

Mats

flower mats, lenses, supergigaballs, quicksand, gum, foldup, discs, leaves, open-close mats...

Modular forms

tetris, slices, sqary, solids, 3d forms and mirror solids.

Quite a range! It is great to see architects and designers from all over collaborating to create furnishings that can easily transform an environment into being playful and 'child-friendly'.

Via Play+.

A brave NZ school design based on 'enquiry' learning

2011-10-03T10:19:00.000+13:00

Papamoa College is located in a new suburb of the sprawling coastal city of Tauranga and is typified by "a new tide of tarseal and housing developments of relentless uniformity, that still unfortunately characterise the typical New Zealand suburb". (McKay, 2011)

ASC Architects were tasked by the Ministry of Education with creating a new Green Star-rated secondary school - the building was completed a year ago in 2011.

"We approached it with the idea that schools should be about more than students - they should become part of the community fabric", says John Sofo, the lead architect.

The school took a brave approach and decided to embrace a new type of 'project-based learning': "So the challenge for us was defining what sort of teaching environment would allow that to occur..." - Sofo.

The layout of the building is in an x formation - allowing for plently of natural light and ventilation to flood each of the spaces.

The building's spatial arrangement allows for a variety of spatial experiences, "beyond the normal school, laid out block by dogged block". (McKay, 2011)

The building also teaches the students about sustainability - with calculations for earthquake proofing and load bearing drawn onto the buildings' walls - teaching the students about the physics behind the building.

Rainwater harvested is measured and can be accessed by the students on the school's intranet; whilst gardens allow for students to grow their own edible plants.

Instead of traditional classrooms, spaces are arranged loosely as long communal spaces holding about 100 students. Similar to the 1970s "schools without walls" model - enabling for more collaborative learning. These spaces break out into various facilities - break-out rooms, meeting spots, a variety of table and desk forms for different tasks.

The design is similar to that of a work-office (or architects' studio) - "blurring the boundaries between learning and life". (McKay, 2011)

A year on, and the good new is - teachers report that the self-directed learning model has the students more engaged, and behavioural problems have nearly disappeared. (Eichblatt, 2011)

Via InDesign Live and Architecture Now.

Kids now needing to hit the gym?

2011-09-29T23:11:00.000+13:00

Sure, the fight against rapidly rising child-obesity is serious. But gyms for toddlers?

An article in today's Herald talks of the emergence of gyms for "tubby toddlers" popping up in America and Australia.

Here is a: 'kid-friendly' air walker, exercise bike and bench press with 2kg weights - produced by Australian company PlaySafeKids.

Child psychologist Dr Michael Carr-Gregg says however this is not a good thing. "Children should be running around playing in the mud, sandpits and jungle gyms".

Via LilSugar.

Oh to be young...

2011-09-29T16:40:00.000+13:00

A beautiful video of one of my favourite band's starring their children relatives. It seems long ago now when children were outside playing, dressing up, inventing stories...

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"When i was just a boy still owl-eyed
I liked to drink the rain to taste the sky
I tried to count the stars while in my bed
To keep the thoughts of monsters from my head"

'Doorways' by Radical Face, 2010.
Directed by Ben Cooper and Mark Hubbard.

The snuffle of the silver dragon

2011-09-29T13:55:00.000+13:00

I've posted on De Baupiloten twice previously - as I think they have got it spot on when it comes to designing for kids. (De Baupiloten are a group of students from the Berlin Technical University under the leadership of architect Susanne Hoffman.)

Their design for the Erika-Mann Elementary School in Berlin, Germany is another fantastic example of an architectural intervention on an existing building, where De Baupiloten have redesigned the interior - hallways and classrooms.

Here you can see the design process, where De Baupoliten started off with making a cardboard model and then a computer model - this modular seating component is what transforms the school's upper stories' floors and walls. See how it pulls apart for different functions and ways of sitting.

The original building was designed by Ludwig Hoffmann in 1915 and displayed the typical sterile and authoritarian educational architetcure of the 20th century. The re-design works in various spaces for play, interaction and contemplation.

I love this isonometric drawing for its ability to communicate the various retrofit 'parts' - corridors and rooms - transforming the existing spaces.

The school children worked with De Baupiloten in a series of workshops - where they became 'co-designers' - where they created a fantastical and poetical worlds - and where they developed the concept of the "Snuffle of the dragon".

Left - is the "Chill Room" - a landscape of seating pedestals covered with foam, tarp and various textiles. A series of one meter high 'petals' form a protective island around the pedestals - made of wood - and can be individually formed by the children - to manipulate sound, light and laminate.

Right - is the "Snuffle Garden" - a series of horizontal and sloped surfaces there the children can lay, sit, or slide. Particles such as the "wings" and "fireflower" 'float' inside the "snuffle of the dragon". The particles are fold out chairs and sculptures on which the children sit or retreat into. Light covers the seats in a golden glow.

The "Dragon's Breath" - reflecting each other.

The "Silver Dragon" - a playful, fun and experimental design concept transforms the experience of the school's space and the spirit of the space - which alters, resonates, engages and shimmers. De Baupoliten show how with a bit of imagination and collaboration (between architects, students and children) can result in a successful experience for all.

Via ArchDaily and De Baupolitan.

Will Alsop's colourful Fawood Children's Centre using old shipping containers

2011-09-25T23:14:00.000+13:00

Located in north-west London and designed in 2004 by Alsop Architects - the Fawood Children's Centre has been said to be a groundbreaking design venture for the education of young children - reflecting current thinking on how the environment can affect learning; and is based on the concept that providing integrated services for children and families that are locally based and easily accessible will result in long term benefits for all (OECD).

The centre houses an early childhood centre, offices and training facilities - offering family support and outreach to parents including child and family health services, and access to training and career opportunities.

The imaginative use of open spaces, with natural light and transparency and colourful "playboxes" creates a comfortable environment for dreaming and learning.

Fundamental to the design was also to provide an environment that offers choice to the children - offering space to socialise or to be alone - enabling independent learning.

The centre was built using recycled sea containers - resembling giant building blocks, linked by wooden decking and warmed by under floor heating.

"This combination of built and adapted internal environments has permitted a rapid construction programme," says Alsop. "It allows flexibility, and for low-cost change in any future internal layout of the building" (The Guardian).

The use of mesh walls or "giant metal circus tent" (The Guardian) which covers and protects the open air play areas creates a colourful social space for development and a decorative focal point for the community. "The children are out in the fresh air without actually being inside" (OECD).

The design stands out from the 'normal' or traditional type of early childhood centre - as Alsop says - "They suffer from what I call pumped-up bungalow syndrome, carefully designed to stifle the childhood imagination" (The Guardian).

Jonathon Glancey from The Guardian describes the centre as 'a ray of light' in run-down Harlesden. A place where "children can eat picnic lunches in a "piazza", chase one another through a "willow tunnel", climb into a tree house, act on an outdoor stage, splash about in a water garden or swing from a climbing frame" - no matter what the weather.

Via OECD, The Guardian and World Architecture News.

Designing Modern Childhoods

2011-09-25T16:02:00.000+13:00

Designing Modern Childhoods (2008) by Marta Gutman and Ning de-Connick-Smith is a collection of essays that is concerned with evaluating and discussing the growing interest in childhood in our globally conscious 21st century. From fears about the demise of the childhood we know in the Western world since the beginning of the 20th century, as well as from developments within a variety of disciplines. Studies on the material culture of children - their spaces, toys and furnishings have grown with this interest - and in fact, observing the spaces and material objects of childhood, which are designed by adults based on their understandings of childhood is important to this critique in helping to define children's worlds, their experiences and their imaginations.

The underscore thesis of the book is that: 'spaces and settings made for children are pivotal to the construction of modernity in global society; and that children are social actors in their own right who use and interpret material culture on their own terms'.

As the book says, analysing the architecture of childhood is important as 'the architecture of childhood frames, just as it is framed by, culturally constructed views of ideal childhood'.

The book provides a wonderful collection of essays covering a number of themes that have arisen in early childhood scholarly attention including matters on health, education and consumerism. Drawing from a variety of locations from all over the world, including an essay about a kindergarten in Auckland, New Zealand. (See previous post on this.)

A diverse 'play-scaped' space for a centre in Melbourne's Docklands

2011-09-25T15:06:00.000+13:00

The Harbour Family and Children's Centre's landscaped outdoor area was designed by Hassell. Located on the rooftop of a supermarket in the Melbourne Docklands - the centre aims to showcase Lady Gowrie's vision for outdoor play as a fundamental aspect of early childhood development.

The courtyard is a diverse and tactile series of nature-based play spaces that provide a backdrop for the facility's learning programmes.

Incorporating two sandpits, digging patch, water play zone kitchen garden and a flexible use softball area, the gardens vary in theme to showcase the diversity of the natural world.

This unique learning environment is an important addition to community infrastructure within a fast-growing high density commercial and residential precinct.

Via Hassell Design Practice.

SLA's 'urban playgrounds'

2011-09-25T14:29:00.000+13:00

SLA Landscape Architects' belief and evident in their designs of urban space is the importance of considering children, as they say - 'children experience and use the city differently to adults'.

"I want my son to sense the world in all its different colours and textures; I want to create a space open to young children's fantasy when playing." Says Stine Poulsen, a young mother and one of SLA's designers (Designing Modern Childhoods, 2008).

Charlotte Garden
Hjørringgade, Copenhagen, Denmark
Completed in 2004

A dune and sea-like landscape the garden contains a variety of different grasses such as meadow grass, festuca glauca, seslevia and molina caerulea.

A textural and sensory space - the garden moves, billows and changes pattern - the colours changing with the seasons. The different and changing spaces are held together by paths which cross through the garden.

Lagkagehuset
Christianshavn, Copenhagen, Denmark
Completed in 2008

SLA has designed this curvy courtyard to contrast with the 'modern iconic' edgy building. Different types of vegetation in altering heights and different textures and colours creates a changing and sensory experience for the courtyard's users.
The courtyard enables a range of new activities including an adventure playground space for the children and enhances a sense of community for all of the residents.

The City Dune / SEB Bank
Copenhagen, Denmark
Completed in 2010

SLA was commissioned to design an urban space to accompany the new SEB bank headquarters situated above an underground carpark and on the corner of two heavy-traffic streets. The urban space was to tie the headquarters with the surrounding area, the harbour and the rest of Copenhagen.

SLA created an accessible, green and welcoming 'open foyer' for the public and employees of the bank. The 'dunes' create a folding movement - the contour of the terrain enables a variety of routes and creating an ever-changing urban space.

North West Park
Copenhagen, Denmark
Completed in 2010

The goal for the new North West Park was to inject a little adventure into the surroundings. A culturally diverse area with many of the inhabitants poor and unemployed - the area had little public life and high rates of crime and pollution.

SLA's design was an opportunity for the area's residents to reinvent themselves and to transform a vast, fenced, empty space into a place where people of all ages could meet. With a magical mix of lights, colours, trees, poetry, and even small mountains - new stories and adventures were introduced.

The park consists of four simple elements: trees, paths, light, and cone-shaped mounts - creating order and coherence between the park's many parts - and a sense of exploring nature.

63 different tree species from all over the world provide colour in the park all year round and reflects the multi-cultural nature of the area.

Children from the surrounding schools were invited to write poems about their vision for the area and can now be seen on the asphalt path that runs through the park.

The park embraces and welcomes everyone - creating a unique identity for the community to call their own.

Ladegårdsparken
Holbæk, Denmark
Completed in 1998

In partnership with the area's housing residents SLA have created an outdoor garden space that filled the request of "more intimacy and opportunities for more uses that the existing open lawn can offer". The area is therefore remodeled into a moraine-like landscape giving the park a new identity.

The space includes: rose gardens, a rubber playland, herb gardens, a rolling skater track, fruit grove and sand gardens - all offering sensory experiences and possibilities.

"We have very little damage in our green areas. The collaboration between the residents and the building society ensures that we all take care of the area" (Niels Hansen, Residents' Committee member).

Sønder Boulevard
Copenhagen, Denmark
Completed in 2010

The existing boulevard is revitalised through a process of comprehensive community participation - who decided on activities and uses to be incorporated.

Trekroner School
Roskilde, Denmark
Completed in 2002

The playground is conceived as a 'garden of knowledge' framed by the school buildings with no corridors, meaning that everyone has to go outside and feel the weather and the changes of nature.

The outdoor space plays a large part in children's development, well-being, learning and social exchange. Therefore SLA have used a varied and interesting contoured play-scape which encourages the children to move in many different ways and play together.

In May 2005, Søren Nagbøl and Mogens Hansen from the Institute for Educational Sociology, Denmark’s University of Education, presented current research at a meeting for the school’s parents which indicates that the pupils of Trekroner:

- move more
- use larger areas of the playground
- play together more across the genders than in other playgrounds in the project

Children create space for movement

There has in recent years been increased interest on how the physical environment can stimulate children to move more, yet seldom are children consulted in the design process. SLA ran a project 'Children create space for movement' that shows how children can participate in the planning and transformation of the environments they use in daily life.

A four-day workshop will result in a built outdoor space where the children define which experiences and activities the area will contain and where the project group will translate the inputs from the children into a cohesive design. Later, a follow-up workday is to be held where the children will offer feedback and the chance to participate in the detailing of features such as benches and dens.

Via SLA Architects and Designing Modern Childhoods.

A pretty, dreamy and charming wonderland is Trelise Cooper's Kid's store

2011-09-24T14:12:00.000+12:00

Designed by Adrian Nancekivell Design with advertising agency Saatchi & Saatchi, Trelise Cooper's store for Kids was awarded the supreme award in New Zealand's Retail Interior Design Awards in 2007.

"For young and old alike the store is a delightful wonderland of unique ideas. Creativity and imagination has triumphed to provide a lasting impression, memorable and outstanding in terms of its retail experience" said judge David Muir.

The store proves that shopping can be more than just buying - it can be an experience, and not just for the children, but inspiring and awakening in us our inner child.

Via The NZ Herald and Cape Interiors.

Where do the children play?

2011-09-23T09:54:00.000+12:00

Cat Stevens was pretty onto it when he wrote the song 'Where do the children play?'

Reflecting on society's ambitions and progress, he suggests that perhaps we are forgetting what is really important - our children - our future.

'I know we've come a long way,
We're changing day to day,
so tell me, where do the children play'

The song is the opening track on the 'Tea For Tillerman' album released in 1970.

The winners of Making Space 2010: architecture and design for children and young people

2011-09-22T13:54:00.000+12:00

Norway-based architects TYIN tegnestue have designed these beautifully sensitive community projects in undeveloped areas of Thailand.

Three of their designs won them recognition in the conference and competition organised by Children in Scotland: Making Space 2010 - which aimed to promote innovation, creativity and sustainability in design for children and young people aged 0-18.

"They have ambition; they are contextually, climatically and culturally responsive. They are socially supportive and life affirming...and they are also beautiful" (Making Space 2010 judges).

TYIN tegnestue's designs were praised not only for their "outstanding architectural qualities" but for their "completely child-centred approach... which meets the needs of a child within a social and cultural context". Their holistic approach demonstrates how architecture can transform lives without large budgets - with architecture that nurtures, protects, inspires and empowers individuals and communities - respecting the local identity, local human resources and material resources.

Min Buri Old Market Library, Bangkok, Thailand

The Min Buri Old Market Community was once a commercial centre but a fire in the late nineties forced trading across the canal and the community changed from one that was vibrant to one deeply affected by deprivation with many in the community unable to enjoy security of tenure and have limited access to services like health, water, sanitation, housing, education and employment.

The entrance to the library.

The aim of the project was not just to build a library, but to inspire lasting passion in the local community that would contribute towards the future development of the community.

TYIN lived close to the site for five months and got to know the community on a personal level through video-nights, meetings and community workshops where everyone could get involved to help clear the site. “Our presence in the community became natural and fluent, enabling us to understand better what resources the community lacked and what they possessed.”

The project was built inside a 100-year-old market building with all materials sourced close to the site or bought second-hand, and construction work was carried out by the community and volunteers, which helped to ensure a sense of local ownership and pride and empowering the community with an invaluable set of skills.

The Library has now become a community hub for children and adults - with donated books, magazines, board games, a television, computer and other resources. There are several spaces for different activities, including an outdoor shaded reading area, a small quiet reading area, a loft floor and a raised area for computer use.

Safe Haven Orphanage

Safe Haven Orphanage is a home for around 50 orphaned Karen children, part of an ethnic group that lives under persecution from the Burmese state.

The brief was to build a bathhouse and library for the orphanage, with the library open to the wider community - for all local children as a safe environment for doing homework and hosting gatherings.

Again, all materials were sourced locally – the bamboo was cut less than 1km from the site, the bricks and concrete were sourced from a nearby market and the urinals in the bathhouse were made from old tyres.

All of the children at the orphanage at the time of its construction were involved in their own way. The older children helped with construction while the younger children helped to collect materials and tools.

The bathhouse.

Here, the clever (and cheap) use of car tires for the urinals (left) and toilet (right).

Soe Ker Tie House

Here, the goal was to provide a home for 24 persecuted Karen children to help them experience as normal a childhood as possible.

“We wanted every child to have their own private space, a home to live in and a neighbourhood where they could interact and play.”

The six buildings were built entirely by a local workforce, following a set of simple and robust construction principles and using a local bamboo weaving technique. Not only did this provide a vocational training ground for young unemployed men in the village, it will make it easier for the local community to accommodate any future expansion, maintenance and refurbishing work that is required.

The indoor spaces are open and semi-private to make sure the children can invite their friends and visitors into their homes while keeping the most private space of their sleeping area to themselves.

Here you can see the multiple variations and opportunities that the spaces provide - steps for sitting on, ladders, openings, benches, swings and different types of facade/screens between spaces and inside and out.

Here you can see the weaving of the bamboo for the structures facade (left). And on the right stumps provide a play space for the children.

Left - children play on the bamboo swings. Right - different types and uses of bamboo provide many variations of filtered light and moving shadows - creating dynamic and beautiful spatial qualities.

Via TYIN Architects and the Making Space 2010 publication.

Allandale House

2011-09-19T14:07:00.000+12:00

This house designed by William O'Brien Jr. may not relate to early childhood, but I had to post it for its beautiful, powerful and simple elegance - and because it reminds me of a beach house my family and I used to stay in as a child - the A frame providing a loft area that was accessible only by a ladder.

Interior views - storage and display space is seamlessly integrated into the buildings design.

Sections and plans - clear and simple.

These models and diagrams show the experimentation and play of the asymmetric form and the resulting plans, or space.

Via Daily Icon.

Not Tuesday

2011-09-19T13:35:00.000+12:00

Rachel Whitman, mother and interior designer has lovingly developed Not Tuesday - these beautiful handmade polymer and seemingly "child-like" necklaces. Love the styled shots too.



Via The Design Files.

European school design 'types' for the 21st century

2011-09-15T17:23:00.000+12:00

This information is from an article written in 2010 by OECD (Organisation for Economic Co-operation and Development), Alessandro Rigolon, which presents an overview of European school building design types.

The type of spatial layout of a school depends on specific characteristics of a school, the level of education, the number of pupils, the school's philosophy, climatic conditions, and its location in the region (urban, suburban, or rural).

Changes in pedagogical approaches today - including the growing demand for areas dedicated to breaks and collaborative work means circulation spaces take on new significance.

As the future needs of schools is becoming more and more unprecendented there is a need to define design guidelines.

The courtyard type

One of the most frequently used in the past and is still popular. Although there are variations on this type, the standard characteristic is the protected outdoor area - that can be easily surveyed and is psychologically reassuring. Advantages are: that it provides a visual focus for the interior spaces, the feeling of being inside a closed area, with different degrees of opening, and a sense of well-being.

As shown above, there are 3 variations: the closed courtyard, the multiple courtyard, and the open courtyard.

The block type

Characterised by compact volumes, simple internal layouts and a large space for socialising which leads to the main learning spaces (classrooms, studios, laboratories). Advantages of this approach is the prevalence for spontaneous meetings and of a social 'heart'.

The cluster type

Here the building is fragmented into different volumes, which can represent independent pedagogical units - "small learning communities" - "school within a school" - each space has a particular and recognisable character, and enhances a sense of belonging.

There are many variations of this type depending on the circulation scheme. Unlike the block type, movement from private to public areas is filtered by common areas or "buffer" spaces - playing a key psychological role enabling student to identify themselves in small groups, gradually transiting towards the rest of the building. Finally, the independent volumes need to be linked by a general gathering space, defining the public character of the building.

The town-like type

Utilises a multiplicity of spaces and functions - hence the metaphor of the town. The most public space, the "town hall square", is surrounded by the most important "buildings" (library, auditorium). From here, a series of roads gives access to spaces that are more and more "private".

Two sub-types include: the "complex blocks" - often single-storey with a compact footprint and "compound structures" - formed by a variety of freely arranged volumes. The notion of urban space is created by the complexity of the internal spaces and the richness of the three-dimensional shapes.

Via OECD.

French architects: SOA have created a number of child friendly designs including the Gavroche Centre for Children

2011-09-15T13:03:00.000+12:00

This multi-care facility and games library - Maison De L'Enfance or the Gavroche Centre for Children designed by SOA Architectes in Saint Ouen, France merges in with the site's contextual surroundings and creates a place for social interaction and shared community public spaces. The building is part of a wider urban development scheme situated around the Victor Hugo Garden.

The centre is a place for educational leisure - where children and adolescents are able to develop their unique individualities through collective games and workshops.

The building's functional organisation evolved around the central hall - which is the focal point of the centre, which is entirely open to the public (like a street).

The staggered timber boxes create a number of outdoor terraces, and flexible orange screens mediate the amount of sunlight allowed to penetrate the interior space.

Street view.

Colour is used inside to separate the interior 'zones'. Open spaces and light wells - offern natural ventilation and lighting and transparency between the spaces.

The circulation space is defined by the use of the colour orange - which enables easy orientation throughout the building.

Rendered axonometric showing the buildings plan and layout. Nature has been considered and integrated into the buildings spatial layout - creating a dialogue between the inside and out.

Via DesignBoom and ArchDaily.

SOA has also completed a number of other educational facilities, all of which have a wider concern for the community - providing additional facilities and landscaped public space:

Nanterre School designed in 2010 and located in Sainte Genevieve, Nanterre - 15 class school and children's leisure centre.

Environmental Creche in Saint-Gratien.

Crèche and nursery school extension in Krüger, Rue de Colombes, deisgned in 2012.

School and Children's Leisure Centre designed in 2010 and located in Saint-Pierre-Les-Nemours including a nursery school, canteen, leisure centre, club house, landscaped playground and town hall.

All designs are environmentally conscious - and use both natural materials - concrete and wood and artificially composite materials introducing colour deliberately to space to further enhance it's characteristics.

Via SOA Architectes.

Reggio Emilia's: The Loris Malaguzzi International Centre

2011-09-12T22:20:00.000+12:00

The Loris Malaguzzi Centre is the 'centre' of the Reggio Emilia Approach to early childhood education. It houses the offices of 'Reggio Children', the Documentation and Educational Research centre of Preschools of the Muncipality of Reggio Emilia, ateliers, the Marco Gerra exhibition hall, the Annamaria and Marco Gerra auditorium, the facilities for professional development and research for teachers, researchers, and families, and for meetings and conferences, a preschool and primary school, and soon, a bookshop and restaurant.

The building, which used to be a cheese storage facility was designed by Tullio Zini and ZPZ Partners.

Marco Gerra Exhibition Hall - here showing the exhibition 'One City, Many children: Memory of a Present History', depicting a journey of the educational experience of Reggio Emilia, 'a story of rights conquered and constructed for and by the children'.

AnnaMaria and Marco Gerra Auditorium

Ateliers - since 2006 the spaces of the Ateliers has hosted the 'Ray of Light', a place of research and experimentation, whereby an environment of light in various forms can be investigated by means of explorations that provoke curiosity and wonder, and stimulate creativity.

Research and Innovation Space - houses innovative furnishings and objects for early childhood originating from research projects carried out with consultancy of Reggio Children. Emphasizing that the world of childhood need not be confined within education but should contribute to a new quality of life for children outside the educational institution. For example Reggio Children have participated in research studies with companies such as Alessi, Ikea, Isaff, Lego, Play+ and Sony, thus improving the way products are designed, and thus the quality of life for all.

The Document and Educational Research Centre, and finally;

The Reggio Emilia Preschool and Primary School

The school which was completed in 2008 houses 3 preschool classes and 2 primary school classrooms, is the flagship building of the organisation , as well as a resource for further research and development.

The learning spaces or "classrooms" are organised around am 'atelier' for undertaking messier creative work, a 'laboratory' for more scientific and technology-led studies and a 'piazza' for more performative and physical play and learning.

A mezzanine level within each classroom serves as a sleeping platform up in the roof eaves, taking children away from the hustle and bustle of the classroom below.

A series of steps within the classroom space create a suite of discrete learning spaces without physical barriers, whilst also providing seating for assemblies and a raised performance area.

Storage is not only extensive, but clearly integrated into the learning environment, with some functioning also as walls. Each child has their own carefully arranged places to store and present their work.

Via The Wonder of Learning website and Imagine School Design.

For more info see the Loris Malaguzzi International Centre website or this issue of ReChild, which looks at the Centre’s activities, functions and imaginary features.

Reggio Emilia's exhibition: The wonder of learning

2011-09-12T16:39:00.000+12:00

The Wonder of Learning is an exhibition which began in 2008 (before was The Hundred Languages of Children exhibition), which travels around the world recounting the research and experiences of the Reggio Emilia Approach to early childhood education and promoting a discussion and mutual exchange on the importance of quality early learning.

Sections of the exhibition:

Dialogues with places

Here, children explored the Loris Malaguzzi International Centre whilst construction was still underway choosing spaces that were interesting to them. They then designed a work of art that represented a dialogue with that particular space - respecting its identity whilst also modifying it.

Thus, the process initiated empathy with place and giving way to a personal interpretation of a space and creating new understandings of children's perceptions of their spatial environments.

Notes for a choreography - Among the many movements children use to explore space, running is the one they use most. It is through running where they perceptions are tuned strongly to the space, and giving them a sense of freedom and power. The space provides a sequence of forms and movements - a choreographical composition.

If columns were... - here two groups of children aged 4-6 recognised the opportunity for a number of a columns in a space to have their own unique identities and appearances, using different forms and materials to give each column its own specific nature.

The stairway's voice - One groups most vivid experience of a space was the sounds produced on a stairway by rhythmical steps, repeated jumps, running and voices. Here they used sound narratives, discussion and drawn interpretations, learning to distinguish between different sounds, and creating new variations, new compositions...

Shadow stories - In this project the children pick out the shadow of a window and investigate the movement of the shadow where it is reworked into the story of a life - expectancy, birth, growth, decline and passing away - of day.

Dialogues with material

This exhibition takes aspects of a project that explored the relationship between the "languages" of children's creative expression and the language of the renowned 19th century artist Alberto Burri. Features of Burri's work including the chromatic quality of this materials, ideas of variation and alteration, the compositional rigour were explored with the children, with particular attention given to the creative process.

Black is made of all colours - Here children are encouraged to see the world in way that has not yet been locked into rigid categories of thinking. Crumpling, folding, rolling, tearing and transforming, they test the reversible and conservable qualities of their materials.

White, white and white - Here each child manipulates a white paper napkin which reveal a myriad of properties when explored - white, lightweight, airy and delicate, slightly textured, opaque when place in layers, but almost transparent when opened out. Each are then placed close together, revealing one large final composition, which carries the traces and identities of each and every 'author'.

Painting, between material and nature - Here natural materials reveal quantity, qualities, density and variations in colour and hue. The materials are then transformed using hands, sieves and rocks to crumble, crush, sift and powder - capturing the material's essence, colour and perfume. These natural 'paints' are then used by the children to create compositions.

Sound systems - Here 4 year old children, teachers and a music teacher build a sound sculpture using natural materials.

The enchantment of writing

Here the children carry out research on the alphabetical code.

Between signs and writing - Varying contexts and strategies were investigated in relation to communicative symbol systems.

Figurative writing - Here children elaborate their written communication - reflecting on the graphic nature of the symbols, the size of the letters and words, the chromatic and tactile choice of the paper on which to write the words and the accompanying graphics and decorations.

Ray of light

The children encounter light - Using the initial springboards of learning - wonder and curiosity. The environments can enhance this wonder making 'spectacular' and engaging experiences.

Meetings between parallel worlds - Playing with shapes and shadows with overhead projectors.

Path of light - Five-year old children make a light-catching machine. They have to confront a number of problems such as how to orient the reflected ray of light. The children build a road of light to illuminate some of the indoor and outdoor spaces of the school.

From enchanted garden of reflections to tower of light - Exploring materials that create colourful reflections, transparencies, luminous rebounds and ever-changing reverberations - the group of children construct a 'tower of light' - a sculpture on wheels that can be moved to seek out the light and built in three parts to be stacked and interchanged to create different reflections.

Tournesol, the turning sun - The architecture is designed to enable significant dialogues between inside and outside, creating dynamic contexts where light becomes the protagonist - giving new life to the spaces so that they are constantly changing in relation to the intensity of the light, the time of day, and the season. Thus the 'places' create narratives to interpreted freely.

Echoes of light - A curtain of mirrors at the window of the classroom creates changeable everyday reverberations, they bounce around, animating the pleasure of discovery.

Light is "weightless matter", almost liquid, capable of expanding and retracting, of being captured and studied and, just for a moment, illusively, stopped.

The pulsating life

A research project on the themes and languages of the natural sciences, based on a collaboration between Reggio Children, the Lemshaga Akademi, the University of Stockholm and the Reggio Emilia Institutet in Sweden, which followed a group of children from the last year of preschool through the first year of primary school (from 5 to 7 years old).

Concepts of transformation, transversality, and the possible connections in the contexts of life guide this project, developing children’s empathy with nature.

Via The Wonder of Learning.

Pretty Prefab Playhouses

2011-09-11T15:31:00.000+12:00

In a world that is getting more and more fast-paced and technological, it is more important than ever that children have a space to call their own, to take time out in, to play in, a space that is safe, secure and scaled to them. That is why it is great to see designers taking the time to design playhouses that enables this.

Here are some well-creafted and ' designer' examples of 'modern', simple and contemporary miniature 'play' houses that are available for young children today.

All of which are pretty pricey, at around $1,000-$1,500 suggesting that demand isn't high enough for mass manufacturing.

Common features of the playhouses below is the 'eco'- friendly wood used, the ability to be easily constructed at home with prefabricated parts, and containing built in easels, blackboards and furniture enabling children's interaction and play...

Designed by California-based Modern Cabana this is one sophisticated playhouse! Including built in furniture, a roll of paper for art, blackboards and can even come with a green roof and deck! I also like the green door that can be opened in three parts.

Via Inhabitots and Modern Cabana.

A more simple design by San Francisco-based Modern Playhouse, this playhouse uses one (natural sustainable wood) material with shapes cut out of each panel. Again, the house can be furnished with custom made built in (and matching) furniture components.

Via CalFinder Blog and Modern Playhouse.

This playhouse by True Modern who designs 'child-friendly' furniture also features paper holders for art and a clean, simple, contemporary and 'eco-friendly' aesthetic.

Via Dwell and True Modern.

This indoor playhouse called Kyoto and inspired by Japanese avant-garde architecture by Smart Playhouse looks visually appealing, but does little more than than look, well...nice.

Via Modern Kiddo and Smart Playhouse.

The Villa Julia designed by Javier Mariscal for Magis was part of the Me Too collection - designed products for kids. This playhouse has the advantage of being not only cheaper, being made from cardboard, but it is also recyclable! It also comes with stickers for the children to personalize.

Via Dezeen.

And for a smart-looking local New Zealand example:

Architect Robin Hannah created the phoyo playhouse originally for her three young children - "I began planning a series of panels that would interlink with one another to form an enclosed space to suit young children".

You can see the ease at which the panels - walls & roof can be quickly and easily arranged and constructed making for a fun and memorable experience for both children and adults.

Via phoyo and InsideOut.

A visually interesting fit-out for a day-care centre in New York that aids children's development

2011-09-05T15:34:00.000+12:00

St Clare's Parish Early Childhood Development Centre interior fit-out designed by Studio 16 Architecture PLLC constructed in 2001

This renovation design for a child-care centre within an existing Parish centre was inspired by young childrens' developmental needs for play.

Vertical elements were inserted, whereby "all surfaces are activated", designed to engage and facilitate function and use - storage, shelving, display as well as interactive and interpretive surfaces to encourage interaction with the environment.

The design also encompasses two horizon lines: one at 7-15cm's for the young children and one at normal head height for the adults.

There are two types of space: the secular and the transcendant/abstract. The secular is defined by the warm colours embedded in the floor design (from red to yellow), which denotes bodily and tactile sensory experience, whilst the curving lobby wall and the fragmented art room establish a free-play sensory experience heightening the phsyical (haptic) experience of space. The second type of space, the transcendant/abstract are the classrooms and are more cerebral and suitable for more structured activities of learning.

Colours from red to purple depict the Catholic teaching: "God promised the children a rainbow". At innumerable moments the inter-play of colour and form fuse.

Via Architzer.

Changing Education Paradigms

2011-09-05T12:02:00.000+12:00

This fantastic animate was adapted from a talk given at the RSA by Sir Ken Robinson, world-renowned education and creativity expert.

See previous post for more information, or visit Ken's website.

An open competition which invites proposals for relocatable classrooms of the future

2011-09-05T11:43:00.000+12:00

The Melbourne School of Design (MSD) Incubator is an initiative for architects, designers, planners and students to come up with ideas for how to design innovative and inspiring future environments for learning.

The competition offers a chance for architects and designers to transform (and improve) relocatable classroom environments, to influence future government policies on the design and delivery of relocatable classrooms, and could even be developed, and manufactured as a prototype.

Oh, and the chance to win up to $60,000. Not bad.

Timeline:

Registration closes on the 19th September and entries must be in by the 31st October with winners being announced on the 28th November.

Available Resources:

Resources available include the brief, a resource on 21st Century Learning, Sustainable School Environments, Landscape Integrations and Connections and Prefabrication.

Check out their blog too for more info and inspiration.