Aldo van Eyck

Product Information

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. 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.

The small domes form a grid that extends evenly throughout the building so that the general pattern can be read at each point. Along the axial lines of this grid, pillars, architraves and solid walls mark a series of well-anchored and enclosed spaces: the adjacent lounges and courtyards, the party room, the gymnasium and the central courtyard. The building is located on the southern outskirts of Amsterdam, IJsbaanpad 3B, Holland, an area that at the beginning of the 20th century was influenced by the South Plan proposed by H.P. Berlage for the extension of the city. It was located between the A10 motorway and the Olympic Games Stadium in 1928, on a flat lot without neighboring buildings. In 2014 it was declared a National Monument, but the masterpiece of Dutch structuralism has become obsolete and abandoned.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.

All sensations, when they take artistic form, become immersed in the sensation of light, and therefore can only be expressed with all the colours of the prism. A child entering a playground perceives other children using the equipment and/or is introduced to it by the parents. Especially in the case of young children, parents guide their child to, for example, the slide, supports it while she climbs the ladder, and encourages her to slide down. By doing so, the parents demonstrate the child the function of the play element. Costall (2015) called such a function the “canonical affordance” of the object, to refer to its “single, definitive meaning” (p. 51; see also Costall, 2012) within a social practice. Indeed, when a child uses the slide in another way (e.g., by climbing up via the part that is meant to slide down), many parents correct their children that this is not how they should use the equipment—this is not “what the object was made for” (see also Kyttä, 2004, on “the field of constrained action”). In the 1960s and 1970s, the American psychologist James Gibson developed an ecological approach to psychology. This approach aimed to understand how animals, including human-beings, perceive and act in their environment. As Gibson (1979) started his landmark book The ecological approach to visual perception,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. He had a classic but unconventional education in England, first at King Alfred School in Hampstead London (1924–32) and subsequently at Sidcot School in Somerset (1932–35), both were progressive schools where the arts, literature and the humanities were highly placed. 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.

Steel and paint are closely allied: one tends to forget this, taking it for granted. Ships, railway engines, motor cars, bicycles, bridges-a host of things-are painted and repainted for protection according to custom, tradition or, if they happen to be pipes, like those which run up, down, along and across the Beaubourg, just for fun: for where there are no pipes there is no fun!’ With the exception of the conference rooms that for acoustic insulation were made in reinforced concrete, the rest of buildings were raised with painted steel and wood. The vocabulary of the playgrounds is based on geometric concrete sandpits, which appear like small archipelagos and groups of stepping stones, both massive and anchored in the ground, and lighter structures, arches, domes and frames made of tube steel resonating with archetypes of architecture. The arrangement of the elements in the playgrounds is always non-hierarchical and based on a careful compositional balance which is able to create tension and intensity between the objects while allowing a multiplicity of paths around the forms. 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’ 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?

Struktur

The floor is a continuous flat surface covered with dark gray carpeting, with stone pavers on the doorways towards the exterior. In the lining of the walls, both interior and exterior, also used large wooden panels with openings for vertical windows. Iroko wood was used in the exterior.

CIAM’s analytical method of measuring life in the city and land use by density and the mapping of just the so-called four main Functions – dwelling, work, recreation and transport – were considered by Team X to be too simplistic as it did not show the overlapping and intertwining of uses, events or the details of its richness and sensitivity and reasons why certain neighbourhoods had and should be allowed and continue to thrive as an integral part of the developing and expanding urban form. What 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’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.” Transparency and colours. I have been busy for some years now re-evaluating the notion of transparency in the light of that other notion – enclosure, convinced as I am that architecture misses the mark and evades its purpose by reverting in turn to the one at the cost of the other for little more than stylistic reasons; the fact that my client – an admirable one if ever there was one – desired an open house came just at the right moment, nourishing a notion already growing in my mind: that it would be expedient, both in this particular case and in general, to bypass trying in vain to arrive at the right kind of openness (which presupposes the right kind of enclosure and vice-versa) in spite of, as it were, transparency. Das Gebäude am südlichen Stadtrand von Amsterdam gelegen, IJsbaanpad 3B Bereich, Holland Anfang des zwanzigsten Jahrhunderts wurde von H. P. Vorschlag der Süd-Plan beeinflusst Berlage für die Erweiterung der Stadt. Er war unter der Autobahn A10 und das Stadion der Olympischen Spiele 1928 auf dem flachen Land ohne benachbarte Gebäude. 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.