The Dutch Structuralist architect Aldo van Eyck left his mark in Amsterdam – not only in the form of buildings but also, perhaps surprisingly. One of them is Aldo van Eyck, who designed a large number of public playgrounds for the city of Amsterdam. His playgrounds are something. Explore Sara Angelini’s board “aldo van eyck-playgrounds” on Pinterest. | See more ideas about Architecture, Playground design and Street furniture.

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To consider the city is to encounter ourselves. There were no sharp boundaries that separated the playground from the rest of the city. The Experience of Modernity.

Aiming at fostering social behavior and communication, van Eyck created many little squares and meeting places in his building that afforded and invited children to play playgrouhds or to meet with the caregivers.

This vision was radicalized in the sixties, when the entire city clogged up due to the explosive rise of car traffic, and urban planners introduced a proposal for an extensive network of metro lines and highways to cut through the old fabric of the city. Bordering the square were trees and five benches.

The New Left came to power and the Nieuwmarkt was saved, to become an inspiration for qldo struggles elsewhere in the country.

In his famous utopian work of architecture New Babylon Van Eyck actually assisted him when he started making scale modelsConstant created an explicit metaphor for the advent of a creative society.

This element that van Eyck designed in was rather popular in the decades that followed and is now placed in the garden of the Rijksmuseum in Amsterdam.

Cultural ReProducers: Ludic Landscapes and Political Parks: Revisiting Aldo Van Eyck in Mexico City

The playgrounds were fantastic because the objects were simple: Keeping It un Real Behind the facade of starchitect video marketing.

The individual is not simply thrown into the human world; it is introduced into this world by the people around it, and plagyrounds guide it in that world p.

Aldo van Eyck played an important role in defining what would follow. NAi Publishers84— However, van Eyck created a set of play elements that he used and harmoniously combined in the design of the different playgrounds. Covered with a rug, it became a hut. Of course the use of empty plots was also a tactical solution. Invan Eyck played host to the first exhibition of the Cobra group — a short-lived but influential avant-garde art movement — in the Stedelijk Museum in Amsterdam.


Van Eyck recognized and implemented a connection between an archaic system of forms and the research of avant-garde artists into abstraction and archetypes. The housing stock was falling dramatically short in both quantitative and qualitative terms. What is even more interesting, though, is that Sporrel et al. Learn how your comment data is processed. The symmetry that characterizes many of his play sculptures aaldo be appealing when only looking at them, but it seems to reduce the attractiveness of the sculptures as elements for play.

By doing so, the parents demonstrate the child the function of the play element.

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

A miraculous trick of the skies — a fleeting correction. How do we see what things are good for?

Many designs followed and, depending on the site, Van Eyck deployed a number of compositional techniques. The architect, then, designed a park using the simplest, clearest elements that invite its young users to develop the skill of anticipating danger and managing it; he did not seek to protect them through isolation p.

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

Interestingly, and contrary to the above-mentioned studies on aesthetics, Sporrel et al. And just because in the Buskenblaserstraat there is enough room for tossing and kicking balls around, kids have had to come up with game rules that permit play without their being hit by cars.

Combined with a dysfunctional infrastructure, it presented planners with the situation of an outright emergency. And by doing alco, he planted the seed of a line of research that continues to fascinate us. As van Eyck put it poetically: At that time, some playgrounds existed in the city, but almost all of them were of a private nature and based on membership of the fortunate few. The close relationship between Van Eyck and the artists from the Cobra current makes it probable that much of his early inspiration for the playgrounds derived from Cobra: But again in the absence of any adults hunkering down in one of the small cubes to read-up on play-spaces an unlikely proposition anyway given their size — let alone any kids rushing around and through the structure — the whole installation has a rather forlorn aspect.


Inbetweening in a Postwar World. This documents the playgrounds he designed across Amsterdam: This was the basic premise of the large-scale construction of playgronds post-war neighborhoods in the fifties such playgrounes Buitenveldert and the Westelijke Tuinsteden, resulting in the well known open pllaygrounds blocks with large amounts of light, air, greenery and monotony.

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Encouraged by the public works department and the citizens of Amsterdam who explicitly asked for a playground in their neighborhoodvan Eyck ended up designing more than site-specific playgrounds. Van Playgorunds developed his play elements primarily for children between ban and 7 years of age van Lingen and Kollarova, and was really concerned with creating the proper distances between, for example, the bars in his climbing frames—experimenting with his own children, he aimed to determine the spacing Strauven, As Gibson had already emphasized, a single object can afford different behaviors to an animal.

University Press of New England.

In the period between andhe designed no less than playgrounds in Amsterdam. Some of the before-and-after photographs are telling: It was designed by Aldo van Eyckand completed inas a commercial gallery for the influential art dealer Alfred Schmelaincorporating his own home too, an apartment which sits at the top playgroounds the three storey, two basement structure. Collected Articles and Other Writings —eds A,do. His designs and spaces always seem, given the warmth of his ideas, somewhat barren.

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

Gibsoneds E. One might argue that this is not problematic. As van Lingen and Kollarova put it.

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