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Masters of Modern Design: The Art of the Japanese American Experience | KCET
"From the iconic typeface of “The Godfather” book cover to Herman Miller’s Noguchi table, the influence of Japanese American artists and designers in postwar American art and design is unparalleled. While this second generation of Japanese American artists have been celebrated in various publications and exhibitions with their iconic work, less-discussed is how the World War II incarceration — a period of intense discrimination and hardship — has also had a powerful effect on the lives of artists such as Ruth Asawa, George Nakashima, Isamu Noguchi, S. Neil Fujita and Gyo Obata."

[via: https://twitter.com/LangeAlexandra/status/1123656364839067648 ]

[See also: https://www.curbed.com/2017/1/31/14445484/japanese-designers-wwii-internment ]
towatch  ruthasawa  georgenakashima  isamunoguchi  sneilfujita  gyoobata  2019  alexandralange  design  history  japanese-americans  art  modernism  internment  incarceration  wii  ww2 
8 weeks ago by robertogreco
Froebel's Gifts - 99% Invisible
"I the late 1700s, a young man named Friedrich Froebel was on track to become an architect when a friend convinced him to pursue a path toward education instead. And in changing course, Froebel arguably ended up having more influence on the world of architecture and design than any single architect — all because Friedrich Froebel created kindergarten. If you’ve ever looked at a piece of abstract art or Modernist architecture and thought “my kindergartener could have made that,” well, that may be more true than you realize."
froebel  foebelgifts  kindergarten  education  design  toys  play  friedrichfroebel  modernism  normanbrosterman  tamarzinguer  alexandralange  2019 
8 weeks ago by robertogreco
Play Mountain - 99% Invisible
"Noguchi’s model for Play Mountain remained on display in his Long Island City museum until January of 1988. At this point, he was 84 years old when a man from Sapporo, Japan came to visit his Long Island City museum and told Noguchi that he thought he could get one of Noguchi’s parks built in Sapporo.

Noguchi started designing play structures and earthworks for the park with his longtime collaborator, the architect Shoji Sadao. But in the winter of that year, he came down with a cold which turned into a terrible case of pneumonia that ultimately took his life shortly after. Noguchi died on December 30th, 1988, having designed the vast majority of the park. His collaborator, Shoji Sadao, continued to work on it. From Noguchi’s death at the end of 1988, Moerenuma Park took 17 years to build and finally opened in 2005.

“It’s enormous … 454 acres – that’s bigger than Central Park,” says Dakin Hart. “It is kind of an amalgamation, a greatest hits, of all of Noguchi’s un-executed land and playground ideas, in one spot.” It’s this huge green swath of land, tucked into a bend in the river. There are forests of his candy-like play equipment, mounds and pyramids and swooping paths, an enormous conical hill to climb, a huge fountain that cycles through an hour-long water show.

Isamu Noguchi was never able to take in the view from the peak of his creation. The sculpture he’d spent his whole life dreaming about., like a mountain teleported from the wild alien planet of his mind. The one place he ever felt he really belonged. Noguchi wanted us to see the world as if we were visiting for the first time. To move our bodies through space as if the simple facts of gravity and contour were brand new delights. To look around with wide eyes, to feel with outstretched fingers, and imagine infinite possibilities. In other words: to live like kids on a playground."
playgrounds  isamunoguichi  2019  design  alexandralange  dakinhart  landscape 
8 weeks ago by robertogreco
The Future of School Design | Architect Magazine
The lesson I draw from history is that curriculum and its container must ever be complementary. Beware those selling a fix in an app, as well as in a shiny new building. The best students—the Laura Ingallses of the world—can learn by rote as well as by following their bliss. To teach everyone else, the physical and the intellectual must be in sync, building on the foundation of the simple needs identified for the early 20th-century classroom: light and air.
alexandralange  schulbau  schooldesign  altschool 
december 2018 by Cervus
What It Would Take to Set American Kids Free | The New Yorker
"My trip coincided with the publication of “The Anti-Helicopter Parent’s Plea: Let Kids Play!” in the Times Magazine, a masterful bit of parental trolling whose comment section reached a symbolic two thousand and sixteen entries before it was closed. The dozens of adventure playgrounds in Tokyo offer, as a public amenity, what Mike Lanza (the “anti-helicopter parent” in question) says he created in his private Menlo Park, California, back yard: a challenging and unscheduled place for physical play that is largely free of parental supervision. Lanza is far from alone in believing that American children have a play problem. Take a look at Lenore Skenazy’s Free-Range Kids blog, which is peppered with reports of cops and child-protective services being called when parents leave their kids to play unsupervised. Lanza’s own book, “Playborhood,” describes the kids-can’t-play problem as both a social one and a spatial one. Without broader community support, such back-yard attempts at free play like his are doomed to become exercises in vanity. Look at them on the roof! My kids are more resilient than yours!

The overprogrammed, oversterilized, overprotected lives of (some of) America’s youth are the result of a nexus of changes to work life, home life, and street life that have made bringing up babies into a series of consumer choices, from unsubsidized day care forward. It is the public realm—where the Tokyo playgrounds operate—that needs to change for American children to have unstructured afternoons and weekends, for them to bike and walk between school and the playground, to see packs of kids get together without endless chains of parental texts. Kawasaki City, where Kodomo Yume Park is located, created its own Ordinance on the Rights of the Child, in 2001, which includes an article promising to make “secure and comfortable places for children.”

But independence requires infrastructure. Hanegi Playpark was founded in 1975 by Kenichi Omura, a landscape architect, and his wife Shoko Omura, an English teacher. They translated the key book on adventure play into Japanese and then travelled to Europe to meet with the woman who was their prime mover from the nineteen-fifties on: Lady Allen of Hurtwood. Lady Allen had seen the first such “junk playground” in Emdrup, outside Copenhagen, where it became a refuge for youth then under German occupation. She spent subsequent decades as a “propagandist for children’s play.” In Tokyo, a low crime rate and a society accustomed to community ownership of public space has created, around Hanegi and approximately thirteen other such parks, a city where there is more room for innocent error.

The road to Kodomo Yume Park (which means “children’s dream”) was narrow and winding, and there was no sidewalk for much of the way. And yet it was safe, because the tiny cars knew to look for pedestrians and cyclists, and drove at slower speeds. There were people in the houses and stores along the route, and few of the buildings were more than three or four stories tall, offering “eyes on the street” as well as adults who might be appealed to for help. The neighborhood, like the adventure playground, operated as a safety net, ready in case of trouble but not often deployed. A mother who was camped out at Yume Park with five children, the youngest a three-month-old, told me a story—hilarious for her—that would have been a nightmare for me. Her two-year-old, who had observed his five-year-old brother being sent to the corner to buy bread, decided he could do the same, and turned up at the shop with an empty wallet. I looked around at the protected bike lanes, the publicly funded playground workers, and the houses where people are home in the afternoon. Do I wish that my kids—who are five and nine**—**could roll on their own from school to the park, meet friends, and appear on the doorstep at 5 p.m., muddy, damp, and full of play? I do, but then I think of the Saturdays dominated by sports schedules, the windswept winter playgrounds, the kids hit by cars in crosswalks, with the light. It isn’t the idea of my kids holding a hammer or saw that scares me but the idea of trying to make community alone.

At the adventure playgrounds, the kids build the equipment they need under the hands-off supervision of play workers trained to facilitate but not to interfere. I’ve read the diary of the first play worker, John Bertelsen, who ran the adventure playground that Lady Allen visited at Emdrup. His account of the day-to-day in 1943 sounds quite similar to what I observed in 2016.
At 10:45 am today the playground opened . . . We began by moving all the building material in the open shed. Bricks, boards, fireposts and cement pillars were moved to the left alongside the entrance, where building and digging started right away. The work was done by children aged 4 to 17. It went on at full speed and all the workers were in high spirits; dust, sweat, warning shouts and a few scratches all created just the right atmosphere. The children’s play- and work-ground had opened, and they knew how to take full advantage of it.

The do-it-yourself rule is, to a certain extent, self-limiting, as towers built with simple tools are shorter than those ordered from catalogues. I saw plenty of children up on roofs—the rule was, if you can climb up without a ladder, relying on your own strength and ingenuity, it’s O.K. In a documentary on The Land, a Welsh adventure playground, a play worker describes the difference between risk and hazard: a risk you take on knowingly; a hazard is unexpected, like a nail sticking out of a board. The play workers are there to remove hazards and leave the risks.

Journalism about adventure play tends to emphasize the danger, but these spaces actually need to be seen as exceptionally porous community centers, in which lots of social activities, for parents and children, occur. “Risky play” is a way for children to test their own limits, and because the parks are embedded in residential communities they can do so at their own pace. Hitoshi Shimamura, who runs the organization Tokyo Play, told me that he has sessions to teach parents to use the tools, because their fear derived from their own lack of experience. Kids also need time to ease into the freedom and figure out which activity most appeals to them. If adventure play were to become permanent in New York, it would do better as a permanent fixture in a neighborhood than as a weekend destination. At a temporary adventure playground set up by Play:Ground on Governors Island this summer, a sign on the fence read, “Your children are fine without advice and suggestions,” though legally, children under six had to be accompanied by a parent or guardian.

The “adventure” can be with water, with tools, with real fire, or just with pretend kitchen equipment, allowing the parks to appeal to a broad array of children, and over a longer period of time. What this means, in practice, is a range of activity during days, weeks, or even years. In the morning, adventure playgrounds become settings for an urban version of a forest preschool, where small children learn the basics of getting along outdoors. In the afternoon, they become a place for older kids to let off steam between school and homework; many communities in Tokyo play a public chime at five in the afternoon—a mass call that is it time to go home. On the weekends, Yume Park might ring with the hammers of children, but for teen-agers there are other options: a recording studio with padded walls; a wooden shed piled with bike parts for the taking; a quiet, shaded place for conversation. Bertelsen wrote in his diary,
Occasionally, complaints have been made that the playground does not possess a smart enough appearance, and that children cannot possibly be happy playing about in such a jumble. To this I should only like to say that, at times, the children can shape and mould [sic] the playground in such a way that it is a monument to their efforts and a source of aesthetic pleasure to the adult eye; at other times it can appear, to the adult eye, like a pigsty. However, children’s play is not what the adults see, but what the child himself experiences.

One of my favorite moments in Tokyo occurred late one afternoon at a smaller adventure playground, Komazawa Harappa, a long sliver of space in a tight residential neighborhood, masked from the street by a simple hedge. Three kids fanned the flames in a fire pit; a baby padded about a dirty pool dressed in a diaper; two small boys, hammering on a house, had remembered to take their shoes off on the porch. But not everyone felt the need to be busy. Two teen-age girls had climbed up on the roof of the play workers’ house, via a self-built platform of poles and planks, and seemed deep in conversation. Suddenly, they began to sing, their clear voices ringing out over the open space."
alexandralange  children  unschooling  deschooling  community  2016  infrastructure  parks  playgrounds  adventureplaygrounds  risk  risktaking  hazards  japan  parenting  openstudioproject  messiness  johnbertelsen  kenishiomura  ladyallen  emdrup  copenhagen  tokyo  kodomoyumepark  srg  urban  urbanism  play  lenoreskenazy  hanegiplaypark  tools  dirt  order  rules  mikelanza  supervision  safety  independence  us  shokoomura  diy  risklyplay  lcproject  tcsnmt  sfsh 
september 2018 by robertogreco
Opinion | The Magic of a Cardboard Box - The New York Times
"On April 20, Nintendo released a new line of accessories for its best-selling Switch game console. Rather than being digital add-ons, they were physical ones: punch-and-fold parts engineered to turn the Switch console into a piano, a fishing rod or a robot. All are made of cardboard.

On March 4, Walmart ads shown during the Oscars centered on shipping boxes. The writer and director Dee Rees, nominated for “Mudbound,” created a 60-second ad in which the threat of bedtime gets incorporated into a sci-fi wonderland a little girl has imagined inside a blue cardboard box.

In June 2014, Google handed out kits for a low-cost virtual reality headset to be used with a smartphone. The headset was named Cardboard, for what it was mostly made of, and users assembled the units themselves.

In April 2012, “Caine’s Arcade,” an 11-minute short featuring a boy named Caine Monroy, was widely shared on the internet. Caine had spent his 2011 summer vacation building an arcade in the front of his father’s East Los Angeles auto-parts store out of the boxes the parts came in. He had the freedom to create an environment because cardboard comes cheap, and his father gave him space.

These 21st-century storytellers turned to cardboard for the same reasons that children have long preferred the box to the toy that came in it: cardboard is light and strong, easy to put up, quick to come down and, perhaps most important, inexpensive enough for experiment. Cardboard constructions can be crushed, painted, recycled and stuck back together. Cardboard furniture can be adjusted as children grow, and cardboard creations become more sophisticated as children gain skills: It is as malleable as the body and the mind.

Technology companies’ embrace of cardboard’s cool suggests something parents and teachers never forgot: The box is an avatar of inspiration, no charging required. Cardboard is the ideal material for creativity, and has been since the big purchase, and the big box, became a fixture of American postwar homes.

Corrugated cardboard boxes were introduced in the 1880s, and slowly replaced wooden crates as the shipping method of choice. Robert Gair, a paper bag manufacturer in Brooklyn, realized that he could slice and crease paper on his machines in a single step. A box could quickly be cut out and scored, creating a flat blank ready to be assembled as needed, the same construction method exploited by Google and Nintendo. Because flattened boxes were easier to ship and distribute, manufacturers could buy them in bulk, assemble, and then ship their own product to consumers.

As household objects grew larger, the play potential of those boxes increased. The purchase of a new washing machine was a cause for celebration in my neighborhood as a child, as it meant access to a new playhouse in somebody’s yard. Dr. Benjamin Spock praised the cardboard box as an inexpensive alternative to a ride-on car or a readymade cottage. In 1951, Charles and Ray Eames mocked up a version of the packing boxes for their Herman Miller storage furniture with pre-printed lines for doors, windows and awnings: When the adults bought a bookshelf, their kids would get a free toy.

Cardboard was considered such a wonder material during this era that Manhattan’s Museum of Contemporary Craft (now the Museum of Arts and Design) devoted a 1967-1968 exhibition, “Made with Paper,” to the medium. With funding from the Container Corporation of America, the curator Paul J. Smith turned the museum galleries into a three-dimensional paper wonderland. The CCA also funded a cardboard playground created by students at the Parsons School of Design that included pleated trees, an enveloping sombrero and a movable maze for children to explore.

James Hennessey and Victor Papanek’s “Nomadic Furniture,” published in 1973, was part of a renaissance in DIY instruction, one that emphasized the cardboard’s open-source bona fides, as online instructions for making your own Google Cardboard did. The “Nomadic” authors demonstrated how to create an entire cardboard lifestyle, one that could be tailored to different sizes, ages and abilities.

Cardboard sets you free from the average, as Alex Truesdell discovered when she began to design furniture with children with disabilities. Truesdell, inspired by another 1970s cardboard carpentry book, developed play trays, booster seats, high chairs and other assistive devices made of corrugated cardboard that could help children with disabilities participate fully in society. As founder of the Adaptive Design Association, Ms. Truesdell was named a 2015 MacArthur Fellow for her work. Her organization offers classes and consultation in design and methods at no and low cost, and expects participants to pass on their knowledge. Cardboard, as a material, wants to be free.

Cardboard’s central role in childhood has not gone unnoticed: in 2005, the cardboard box was inducted into the National Toy Hall of Fame. “We were particularly motivated by the exceptional qualities that cardboard boxes hold for inspiring creative, open-ended play,” says Christopher Bensch, vice president for collections and chief curator at the Strong National Museum of Play in Rochester. Nirvan Mullick, the filmmaker who made “Caine’s Arcade,” went on to found a nonprofit group, Imagination.org, that organizes an annual “global cardboard challenge” — one taken up by over a million kids in 80 countries.

At a time when toys have become ever more complex and expensive, it is worth returning to the box, seeing it not as trash but as a renewable resource for play.

For my daughter’s seventh birthday, she requested a cardboard-themed party. (I swear, I had nothing to do with it.) “Cardboard creations” is a highlight of “choice time” at her school, where kindergartners and first-graders have an end-of-day craft session with shoeboxes and paper towel rolls.

We gave up recycling for several weeks before the party and accumulated an embarrassingly large pile in the center of the living room. When the kids arrived, I waved them toward the boxes and bins of glue sticks, washi tape, paint, wrapping paper scraps and stickers.

“Make whatever you want,” I said, and they did."
alexandralange  cv  cardboard  2018  victorpapanek  nintendo  caine'sarcade  hermanmiller  benjaminspock  jameshennessey  diy  making  makers  alextruesdell  design  disabilities  disability  choicetime  recycling  eames  charleseames  rayeames  robertgair  technology  boxes  creativity  imagination  cainmonroy 
june 2018 by robertogreco

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