In each of the four main circulation spaces, the restaurant, winter garden, library and conference rooms, a star-shaped ceiling rises above the lower roof, each ascending towards a pyramidal shape peak Different and variable configuration of large skylights. The inside of the dynamic folding roof creates the most important element of different spaces, wood entrechapado smooth surfaces combined with other grooved, which impart a warm color to all rooms. Move on we must because our understanding of meaning in life and action is changing. The Modern Movement was revolutionary not only in trying to create a new world, but one in which it was possible continuously to invent one’s life. Truth and meaning could be grasped by analysis on which decisions could be committed and realised in action. And action, played against plain white screens, left no trace – other than rearrangement of the light steel furniture. (Hence the urban corollary of cities pulled down and rebuilt at will.)

The construction of the pavilion is a careful 2D drawing exercise. Six parallel walls almost 4 meters high are placed with a distance of 2.5 meters from each other. The walls bend, forming semicircular spaces, and the sudden cuts transform this simple pattern into a sophisticated spatial device. Until its reconstruction, this work stood as a model of paper architecture. In 1946 he and his wife moved to Amsterdam, where he joined the Public Works Department, for which by the time he left in 1955 he had designed over 60 playgrounds in the interstices of the city. They set out on a series of travels to Africa, to pursue his lifelong fascination with non- European cultures. He became intimately involved with the Cobra group of artists.From the end of the sixties he went on to apply his approach in the context of historical towns, first in his competition design for the Deventer town hall (1966, another prize-winning but unexecuted project), and then in the renovation projects for the Amsterdam Nieuwmarkt and Jordaan quarters (1970), and for the inner cities of Zwolle (1971–75) and Dordrecht (1975–81) – all of them urban housing projects which he developed and executed in association with Theo Bosch (1971–83). His most striking building of that period was the Hubertus House in Amsterdam, a home for single parents and their children (1978–81) which achieved a remarkable integration of a colourful functionalist language within an eclectic context. In recent years there has been a renewed interest in Structuralism and the group of architects who associated themselves with the movement. In 2014, Het Nieuwe Instituut in Rotterdam dedicated an exhibition to Dutch Structuralism and initiated a study of its history and contemporary relevance. As an alternative to the technocratic planning that characterised post-war reconstruction, the buildings and plans from the 1950s and ’60s resonate strongly with a younger generation of architects and activists who are facing a new wave of large-scale urban developments and the privatisation of public space. We all call this view: artistic expression of light-spherical expansion of light in space. In this way, we will have a spherical expansion of colour in perfect accord with the spherical expansion of forms’ Ideas about play haven’t changed much since then,” says Nicola Butler, chair of Play England, who co-authored the charity’s Design for Play guidance in 2008 – and then discovered that Allen had written a pamphlet of the same name in 1962, outlining almost identical principles. “The more objects that children can actually manipulate themselves, the more enjoyment they will get out of a playground.”

Considering the career of the architect who subverted mainstream thinking by championing place over spaceSmall scale elaborations were introduced here and there throughout the building. Localised colour concentrations – the small within the large’ He taught at the Amsterdam Academy of Architecture from 1954 to 1959 and he was a professor at the Delft University of Technology from 1966 to 1984. He also was editor of the architecture magazine Forum from 1959 to 1963 and in 1967. A big part of his life was going against the grain, being in opposition to the mainstream, whatever that was: mainstream Modernism, mainstream CIAM, mainstream Team X or mainstream Postmodernism (the latter most famously in his Rats, Posts and Other Pests rant at the RIBA in 1981). Interestingly, and contrary to the above-mentioned studies on aesthetics, Sporrel et al. (unpublished) also observed that the children reported that they found the non-standardized configuration slightly more beautiful than the standardized one. This seems to suggest that the principles underlying the aesthetic judgments are different when children were to look at objects (as in most studies on aesthetics) than when they were to play on them. What is even more interesting, though, is that Sporrel et al. (unpublished) found no correlation between the children’s aesthetic judgments and their reported joy of play. Apparently, there is no relationship between how beautiful the child found a configuration and how much she enjoyed playing on it. This suggests that although designers might be concerned with the aesthetics of their play elements, the perceived aesthetic is not of overriding importance for the children who play on them. Concluding Remarks

Make it your own’ … teepees and a pirate ship in Diana’s memorial playground. Photograph: Andrea Jones/Garden Exposures Photo LibraryWhat is due now is to move step by step toward enclosure by means of – or through – transparency. Not for stylistic reasons, no no no, for style comes as a reward, but for what it can still provide on a human level’ The affordances of the environment are what it offers the animal, what it provides or furnishes, either for good or for ill. The verb to afford is found in the dictionary; but the noun affordances is not. I have made it up (p. 127; italics in original). The residential units are arranged in a staggered formation, thus allowing each of them to have communication with an individual outdoor space and with the internal street. The result is a polycentric building, with a joint of large and small spaces, inside and outside, in successions of units, sets of 9 modules, each defined in its own right, while it is interlaced rhythmically, also with domed covers in This case greater. Whatever space and time mean, place and occasion mean more. For space in the image of man is place, and time in the image of man is occasion. 1 The Amsterdam Orphanage was truly a city for lost children. The building (now the Berlage School of Architecture) is a low, one- and two- storey beehive-like structure, a sequence of clusters in which children can invent by way of play and exploration a sense of community in the absence of a family, a place of chance encounters and of the imagination. Much publicised and debated when built, it was allowed to fall into a state of disrepair until taken over by the Berlage School in recent years.

Allen had been inspired by a trip to Denmark in 1945, where she saw the work of architect Carl Theodor Sørensen. His skrammellegepladsen, or junk playgrounds, were visions of creative chaos, made mostly by children themselves. She helped set up 17 trial junk playgrounds in the UK, equipped with makeshift treehouses, walkways, nets, ropes and rubber tyres. The very first, at Lollard Street in London’s Kennington, is still going strong. The interior shows the influence of various styles such as Art Nouveau and finnish postwar architecture, as well as the anthroposophical vision of Rudolf Steiner. His designs seem somehow underwhelming compared with his vivid, lucid and poetic writing, which even 30 to 60 years later is still strikingly relevant. While some of the early texts have a preachy side, with all the desperation and hope for salvation connected to sermons, many of his later lectures and articles are more polemical, sharp and witty. The central area of the project is covered with a hundred pyramidal domes of square base, 3.36m of side, prefabricated in concrete and some of them with a central skylight. The domes are supported by a grid of equal dimensions created by round pillars and concrete T-shaped jigs made in situ.It’s all designed, says Emery-Wallis, “for proper risk-taking and getting dirt under your fingernails”. It might look more expensive than your average council KFC, but 80% of the materials were scavenged from Olympic leftovers. As for the increased dangers, she says Play England has a rigorous assessment system that measures the risk against benefit. “You’ve got to have a sense of risk and excitement,” she says, “otherwise we’re cosseting our kids in a bubble-wrapped world.” We live in an era in which there are not many carefully constructed playgrounds. We don’t like what we see. Have we—city decision makers, architects, designers, parents, friends —forgotten to be critical? In the autumn of his life, Gibson developed an alternative theoretical framework, focusing on the animal, the environment, and their relationship at an ecological scale. A central tenet of Gibson’s ecological approach is that the environment we live in does not consist of matter in motion in space; rather it consists of possibilities for action. He coined these possibilities affordances, and defined them as follows.