Aldo van Eyck

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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. 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.

Some of the domes are covered with skylights that allow the entrance of natural light. The rays of light penetrate the semi-dark rooms creating images of great visual interest. Along the main corridors are glass walls that overlook the many courtyards of the building, allowing for beautiful views, in addition to providing light to most areas of the orphanage The complex encompasses a total of more than 300 modules, all interconnected and grouped around a series of intimate courtyards, with spaces merging into one continuous interior. Seen from above, the low-lying structure seems to spread across the terrain like a virus. An organism for living, to paraphrase Le Corbusier, as an expression of the Structuralist ethos, the movement that promoted a human-centric, self-generating and open-ended architecture. But in the initial caricature these planes were intended not literally, but as a simple metaphor. In their place could be substituted any other element used to define limits and offer opportunities for use. Wide cills, contoured benches, flowing staircases, sculptured handrails and many other elements may all be necessary for a really useful and comfortable building. 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.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’ 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. This is the heroic, or tragic, dimension of modern architecture; it refuses to coddle, to give directions and it forces Man to stand on his own, to be his own free agent’

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.” In 2014 it was declared a National Monument, but the masterpiece of Dutch structuralism has become obsolete and abandoned. The restaurant that is defined by an octagon with four slightly projected arms is accessed through the ground floors of the new towers. The restaurant offers a wide variety of areas, some oriented to the outside, others more intimate, some on ground floor others in height.

Einführung

But from compulsive action in the modern age we achieved more alienation than liberation. We no longer see truth as something to be grasped in external facts, but as something to be uncovered slowly inside ourselves. We are less interested in doing anew than in seeing anew. Continuity is no longer hampering but is essential to depth, to the joy of discovering new nuance in what was always there. So today we are searching for an architecture that is more stable, and physically and symbolically richer. We want again a density of materiality and meaning that can be engaged in reverie as much as in physical action. Street urchin

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 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. 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.At its best, the result was a setting in which incident and action stand in high relief. There was a promise both of freedom and of awareness, so that the prosaic actions of daily life acquire a resonance and epic quality. This is the heroic, or tragic, dimension of modern architecture; it refuses to coddle, to give directions and it forces·Man to stand on his own, to be his own free agent. Imagine being on a flat and featureless desert. There is no escape either from the sun that beats down by day and the cold wind that blows by night, or from the gaze of any marauder who may pass. Then imagine that in this desert is a vertical plane a few paces long and a few paces high – a wall. During most of the day there would be shadow on one side or the other; at night there would be some shelter from the wind from most quarters; and it would be possible to hide from the view of passing marauders. Much that is wrong with modern architecture is due to its superficial closeness to the caricature of pure planes’ 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”). 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

They had the first of their two children: a daughter, Tess (born in Zurich in 1945) and in 1948 a son, Quinten (born in the Netherlands).

Die Gebäude wurden mit Stahlbetonplatten und Ziegel sowohl undurchsichtig, dunkelbraun , durchscheinend wie Glas. Die Böden sind aus Beton. This first project, although enthusiastically received in Noordwijk, did not get the approval of the executive board in Paris, largely because in making the program for ESTEC had underestimated the space needs of the facility constantly expanding. As a result, the program for the restaurant, library and conference center nearly doubled by adding a number of new office spaces, forcing the relocation of new additions to the large developing area southwest of existing buildings near From the main entrance to the complex down the road.