A must visit website

August 10, 2012, 5:44 pm

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Century of the Child: Growing by Design, 1900-2000 is an exhibition and interactive website that looks at the modern child through design.

The Website's homepage is organized into seven sections or themes, presenting individual and collective visions for the material world of children, from utopian dreams for the citizens of the future to the dark realities of political conflict and exploitation.

Toys, books, playgrounds, schools - all are brought together here in a clear and interesting way - organised into themes, such as 'Light, Air, Health - 1920s-30s'.

Here is Norwegian designer Peter Opsvik's Tripp Trapp chair, which he designed after watching his son, Thor struggle to find a place at the family dining table. More than seven million Tripp Trapp chairs have since been sold.

The exhibition takes its lead from the 20th century Swedish design reformer and social theorist Ellen Key's landmark book (1900): 'The Century of the Child' - which predicted a new age preoccupied with the rights, development and wellbeing of children. Key advocated progressive design as a means for shaping children's experiences in a rapidly changing world.

Children during a light-therapy session in 1937. After World War 1, there was an almost obsessive concern with children's health. The child's body was seen as a perfectible human machine that could be conditioned to function within a utopian, modern world. Advances in medicine and psychology provided a deeper understanding of the environmental implications on the child's physical and mental development, and the modernist architecture reflected this providing plenty of fresh air, sunlight and water for the child's health.

Via MoMA and Cool Hunting.

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Feel inside (and stuff like that)

September 17, 2012, 11:20 am

≫ Next: Learning by doing

≪ Previous: A must visit website

It might not be relevant to the architecture of early childhood. But it is great.

The hilarious kiwi duo Flight of the Conchords succeed in bringing together the ideas of children to create a charity song for red nose day. I highly recommend you check it out.

On another note, I will be back with more posts soon. So watch this space.

Jess

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Learning by doing

November 13, 2012, 1:22 am

≫ Next: It takes a community to look after a child

≪ Previous: Feel inside (and stuff like that)

The quote for this week (seen right) is one from the famous progressive educationalist John Dewey (1859-1952). It goes:

“Before the child goes to school, he learns with his hand, eye and ear, because they are organs of the process of doing something from which meaning results. The boy flying a kite has to keep his eye on the kite, and has to note the various pressures of the string on his hand. His senses are avenues of knowledge not because external facts are somehow ‘conveyed’ to the brain, but because they are used in doing something with a purpose.” ( John Dewey, ‘Democracy and Education’, 1915)

Left: A book by Lauren N. Tanner - 'Dewey's Laboratory School - Lessons for Today'; and right: the Marin Montessori School designed by Pfau Long Architecture.

In 1895, Dewey set up his 'laboratory school' where he tested his ideas on 'learning by doing'. His early learning section (which he named 'sub-primary') was based on activities around family life and that "tapped in" to the child's natural interests. A popular pedagogical theme today that was however rather extraordinary at the time.

Kindergarten in Bicesse Estoril designed by Atelier Central Arquitectos.

Dewey also emphasised the social context of learning, stating: “A child is not born with faculties to be unfolded, but with special impulses of action to be developed through their use in preserving and perfecting life in the social and physical conditions under which it goes.” He saw the role of education as learning to be a part of society, perceiving the school as a sort of miniature community of learners - where skills of co-operative and problem-solving were a key to everyday life and living as a democracy.

From left: Children at The Tinkering School build a wooden roller coaster. Middle: Children play on the indoor play structure, which they helped build. Right: Milan Joshi, 5-years old during a wood-working class at the Eliot School.

These ideas are beginning to infiltrate into primary education, especially in the United States, with some schools becoming more "like a kindergarten". Doug Stowe, writer of the 'Wisdom of Hands' stated “there is an awakening going on” and that until the 1900s, “there was a widespread understanding that the use of the hands was essential to the development of character and intellect” (Scelfo, New York Times, 2011).

El Porvenir Social Kindergarden in Colombia designed by Giancarlo Mazzanti.

Dewey's ideas on 'learning by doing', encouraging the child's natural interests and of learning to be a part of a co-operative and loving community are still highly relevant, and I think he would be happy to find these concepts continuing to be embraced today.

All images via

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It takes a community to look after a child

November 26, 2012, 11:53 am

≫ Next: Architect David Businelli strives to "pay attention to the visual horizon of the child"

≪ Previous: Learning by doing

A great initiative, Buddy Day that was run in Hamilton on the 16th of November reminds us all that 'it takes a community to look after a child' - raising awareness and initiating conversations about child abuse and how we might begin to stop it.

The first campaign of its kind, the event was a huge success with more than 180 hand-made cut-outs or "buddies" were parading the streets of Hamilton.

Early childhood centres, schools and community centres got stuck in - dressing, decorating and creating a personality for their "buddies", while discussing what a child needs to be happy, healthy and have a sense of belonging.

What a wonderful and creative idea. Lets hope the initiative lives on!

Via Voxy

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Architect David Businelli strives to "pay attention to the visual horizon of the child"

February 10, 2013, 12:19 pm

≫ Next: A wonderful graphic that shows quality EC Education means a brighter future

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Writing about Studio 16's St Clare's Parish Child Care Center (below), David Businelli of Studio 16 recently got in touch with me.

Remarking on the number of facilities that are supposedly designed for children that in fact aren't, I asked David if he could answer a few questions of what he has learnt from his experiences designing facilities for children.

David responded thoughtfully, particularly emphasizing the importance of the child's perspective of space; to respond to the child's viewpoint - of scale, circulation and comfort. Indeed aspects which I believe have been under-valued and therefore realized in many designed child-care centres.

1. What are the things you have learnt from designing for young children (as opposed for adults)?

I’ve learned that as a designer, I have to pay special attention to the visual horizon of children. That realization triggered memories of when I was a kid, constantly looking up at adult sized – everything-counters, desks, etc. That lower visual horizon has meaning and relevance to kids, and facilities designed for them must deal with it. Shapes, color and texture can be designed to be suitable for both the younger children and the adults that occupy the space. Fun colors and right sized cubbys, tables and chairs are not enough.

2. What do you believe to be the key architectural features that help to nurture and support children's wellbeing and development?

Key architectural features are distinct site lines at child height, clear circulation through the space, design elements that capture a child’s imagination and get’s them thinking, good natural light and superior indoor air quality. Anybody who remembers the old school buildings that they attended as kids will remember the lousy colors, bad light and uncomfortable conditions – stuffy, too hot or too cold.

3. What are the biggest misgivings within the industry of early childhood and architecture, and how do you believe we can educate others to be more mindful in providing adequate architectural spaces for early childhood?

I think that the biggest misgiving is that certain building elements should be skimped on, such as superior HVAC systems and good day lighting. School districts can tend to not understand why these things are important. If a facility for young children is going to serve them for a long period of time – say 25-50 years, why not build a superior building? It will ultimately perform better over the long term and give the kids maximum benefit. Also, they are not just small adults, so why just throw some colors on the wall and floor and maybe have a nicely shaped ceiling if the rest of the space is adult sized?

David certainly has some poignant points to make for when considering designing early childhood spaces. And here are some of his projects below:

Studio 16's Projects

St. Clare's Parish Center, Early Childhood Development Center

The St Clare's Parish Center sets out to question the role that architecture plays in structuring a learning environment. Instead of vertical walls, the concept of "activating" all surfaces is applied, to engage the child and facilitate the use of the center. The space is also designed to cater for the uses' scale, employing two horizons: one at 3'-6" for the (developing) youths and the other at normal head height for the adults (guardians). For more see earlier post.

A transparent and clearly defined entrance to the facility combined with many interbal child-oriented details designed to engage and inspire the children makes for a truly child-centred design.

FasTracKids International, Staten Island, NY

FasTracKids is a programme for children 6 months to 8 years of age, which aims to encourage children to learn by providing a fun and interactive setting utilising technology. Studio 16's brief was to build a single classroom, a waiting/presentation area with a plasma TV and reception area.

The architects made the most of the rather small space, creating a fun free-standing curved classroom wall. Parts of the structure are revealed to teach the children about how the components are constructed, while the ceiling utilises pexiglass panels, making use of both the natural light from the clerestory windows and artificial light. Scale is considered with a child-friendly horizon of 3' - 6" to create a sense of intimacy and confidence in the young children.

Waiting Area/Reception. The curved desk and wall promotes movement and play.

Blue and yellow are used to reflect the 'FasTracKids' branding and identity,

Reception and circulation space into the classroom.

Via Studio 16.

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A wonderful graphic that shows quality EC Education means a brighter future

March 27, 2013, 11:12 am

≫ Next: Hospital art injects a bit of life into sterile hospital spaces

≪ Previous: Architect David Businelli strives to "pay attention to the visual horizon of the child"

Via Education News.

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Hospital art injects a bit of life into sterile hospital spaces

March 30, 2013, 6:08 pm

≫ Next: Svet vmes = utilising the spaces in-between

≪ Previous: A wonderful graphic that shows quality EC Education means a brighter future

It is great to witness the long overdue recognition of the role that art, design and architecture can play in forming positive spatial experiences in spaces that otherwise can be marked with trauma.

When Great Ormond Hospital in the UK ran a competition asking artists to transform a new hospital wing with an interactive artwork, the winner Jason Bruges Studio responded with the idea for a nature trail - a 50m long artwork displaying animated animals on 70 specially programmed LED panels.

The animal magic comes to life as the patient starts his or her journey to theatre by triggering sensors embedded in the ceiling. All of a sudden frogs, deer, hedgehogs, horses and birds appear on the wallpaper.

The result is an installation that captures the imagination, lighting up the faces of the children and improving the otherwise sometimes difficult experience of the hospital treatment.

Bruges was inspired by memories of his own childhood; "The idea came from remembering walks in my childhood...spotting and following things, those stolen glances and glimpses, the excitement of stopping at hides. I was trying to recreate this with the idea of digital lookout points along the corridor."

Via The Guardian.

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Svet vmes = utilising the spaces in-between

April 28, 2013, 8:45 pm

≫ Next: Innovative educational concepts must be coupled with designs that are inviting, stimulating and versatile. They should offer places to learn, play, or escape the fray

≪ Previous: Hospital art injects a bit of life into sterile hospital spaces

I love the philosophy behind svet vmes, a young architectural practice that transform poorly designed educational and working environments; thus utilising the spaces in-between.

I have selected a few of my favourite projects to showcase and was fortunate enough to interview the group, who have shared with us their inspiration, passion and experiences of designing for our younger population.

INTERACTIVE STREET, Šenčur Primary School, Šenčur, Slovenia, 2011

At the Šenčur Primary School, Šenčur, Slovenia, 2011, the young architects have re-designed this boring (and rather depressing) school corridor with a colour scheme (the colours also giving each classroom a unique identity), and fun interactive components for climbing on and sitting in; thus offering the children a variety of play - individual and social experiences.

UNDERGROUND CAVE, Ledina Kindergarten, Ljubljana, Slovenia, 2012

From storage space to a magical underground cave, this project works within the existing and rather constrained space using colour, texture, light and a multi-faceted form to create an exciting play landscape for the children attending this kindergarten. The new environment, with it's gloomy shadows, lights, secret corners and steep inclines encourages the children's imagination and tests their physical capabilities.

CHILDREN'S POLYGON, Supernova Shopping Centre, Ljubljana - Rudnik, Slovenia, 2013

This project poses a way of transforming commercial (and very adult) spaces into something that considers children's play. Situated within the busstling shopping mall, svet vmes have successfully created a Slovenian-inspired varied and experiential landscape, where children can crawl, climb, draw, listen to stories and hide from a rather aggressive shopping environment.

INTERVIEW WITH THE TEAM

1. Where did you go to university, and how did you guys meet?

We met at the Faculty of Architecture in Ljubljana, Slovenia. We all studied or worked abroad for a shorter period of time after our studies (Italy, Germany, Denmark and Belgium).

2. How did you come to create an architectural practise that focuses on the "in between" spaces?

We have done extensive research about educational buildings already during our studies. All three girls in our team of four have focused on architecture for children in their respective theses so it only made sense to join our efforts and knowledge in establishing the main »theme« of our studio.

The second reason for focusing on the spaces »in between« was the fact that all educational architecture should obey very strict design rules and regulations. This fact results in architecture, that can be quite cold and lifeless, especially the common areas of each such building. Therefore, much can be done to give character and life to an existing building by adding to those »spaces in between« (corridors, halls, threshold spaces, unused spaces, etc.) It made sense to use our theoretical and practical knowledge on the subject of educational architecture and start improving the quality of living and learning conditions of younger generations. It is the quality that matters, not the quantity...

3. How do you think this relates to children?

A child is very prone to stimulation from its environment. It makes a huge difference if his or her school is made in a way that stimulates these senses, or if it is a cold and foreign place. Based on the projects we have already done, our work has achieved this in no small measure. Children tend to stay in the newly refurbished spaces for longer periods of time, they achieve better academic results, find interest in collaborating with others and love to come back to school. This is really important.

4. What do you believe is the most overlooked or neglected architectural characteristics or false presumptions that architects make when designing for young children? (i.e. scale, textures, light, function, decoration)

Usually architects forget the simple fact that it is the children they are designing for. The most overlooked characteristics is therefore playfulness. Children sense the world differently and much more intensive than adults. Adults perceive their surroundings mostly by sight and interpret the information more rationally, while children employ all their senses and react to the inputs on more emotional level. They learn on their every step and should be encouraged to do so. The spaces, designed for children, should be involving for them, but not intimidating. When creating spaces for children, one should think "outside the box".

These guys are ones to watch, and I for one can't wait to see these projects come to life!

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Innovative educational concepts must be coupled with designs that are inviting, stimulating and versatile. They should offer places to learn, play, or escape the fray

May 4, 2013, 4:54 pm

≫ Next: Help Norman Brosterman republish 'Inventing Kindergarten'

≪ Previous: Svet vmes = utilising the spaces in-between

An excellent introduction (above) to Detail's latest issue DETAIL Concept 3/2013 which focuses on the architecture for children. Exploring pedagogy, architectural typologies and contemporary exemplary case studies – the projects range from small facilities located in garden settings to large school buildings in a dense urban fabric.

I MUST get my hands on a copy - in the mean time here is a snippet view of what's inside....

The cover (left) illustrates an array of school spatial arrangement - ranging from sporadic or town-like compositions, dynamic or regular linear arrangements or with classrooms surrounding a central core.

Introduction

The introduction (right) describes traditional school design which follows a strict standardized approach (of functional zones, circulation, safety and fire regulations etc) rather than exploring spatial and aesthetic qualities or the influence of colour and light on children's learning experiences; an approach which leads to rather dull and monotonous environments.

Today, education pedagogy is moving away from frontal forms of tuition and focusing on more autonomous, interactive and collaborative learning processes, a characteristic of the revolutionary and radical early childhood pedagogies. Today, schools are beginning to take a leaf out of the early childhood facilities - providing spaces that inspire physical, imaginative and collaborative learning activities.

Kindergarten and Primary School in Saint-Denis, designed by AAVP Architects.

Materiality and colour

Above is a Kindergarten and Primary School in Saint-Denis, which is situated on a former factory site in the north of Paris. In contrast to this somewhat neglected district, the school, with its golden outer face of perforated sheet aluminum and a cladding of larch strips and turned wooden members, resembles a precious jewellery box. The architects wished to stress the social significance of the structure through a striking, carefully designed facade that would recall oriental-Arabian mashrabiyas.

Left: Kindergarten and Primary School in Saint-Denis, designed by AAVP Architects; top-right: El Chaparral Nursery in Albolote, designed by Alejandro Munoz Miranda; and bottom-right: Plaza Ecopolis in Madrid, designed by Ecosistema Urbano.

Right is a feature on the contemporary trend of adding colour into children's play and learning areas. Using two examples in Spain, which both use Armstrong DLW linoleum said to offer qualities that are advantageous to children. One, the Plaza Ecopolis features sunny yellow interiors and exteriors and an artificial oasis with a pond than purifies the building's waste water, as well as large sandboxes and ramps and slides. In contrast, the El Chaparral nursery (top right) is designed to blend in with the surrounding buildings, however its coloured windows and contrasting coloured flooring creates a vibrant atmosphere and gives a unique character to each room.

Childcare Centre in Sienne, designed by Giorla & Trautmann Architectes.

Urban Context (the centre as a miniature town)

This child care centre in Switzerland catering to 200 children bravely negotiates the existing urban fabric placing it centrally in the town in an existing carpark and in immediate proximity to the schools and the children's library. An existing pedestrian bridge now links the new structure with the playground of the of a nearby school.The architects with the educationalists created a bespoke programme in which openness and flexibility play a central role. The centre includes a kindergarten on the ground floor for two to four year olds, a creche on the first floor for children three to eighteen months. Larger spatial units are housed on the second floor: a gym and a multi-purpose space, while two internal patios give light to the interiors and provide a goldfish pond, a garden with rabbits. The "heart" and distribution zone of the centre is the atrium that extends the full height of the centre, while three cubes as "structures within structures" contain a children's kitchen, a theatre or reading room and workshop. Circulation areas flow around these like the streets and open areas of a small town.

Two early childhood centre case studies:

Creche and kindergarten in Berlin, designed by Winkens Architects.

Day Nursery near Prince Alfred's Hamlet in South Africa, designed by students of the Department for Building Design of the RWTH Aachen Project architects.

This edition of Detail I think nicely encapsulates this exciting new movement which focuses on architecture that is derived from children's unique perspectives and experiences. It is architecture that is also beginning to take children seriously and emphasises the important role they play now and will play one day.

Via Detail.

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Help Norman Brosterman republish 'Inventing Kindergarten'

June 24, 2013, 1:30 am

≫ Next: A surving relic of the 1900s progressives: Preshill School

≪ Previous: Innovative educational concepts must be coupled with designs that are inviting, stimulating and versatile. They should offer places to learn, play, or escape the fray

Norman Brosterman's book 'Inventing Kindergarten' was a key source and inspiration for me when writing 'The Architecture of Early Childhood'. And now he needs our help.

See his video (above) and go to Kickstarter to help Brosterman fund and bring back a fine and still very much relevant revelation into the revolutionary Froebel 'Kindergarten' education.

The book, illustrated beautifully (like the above image shows) tells the compelling story of the birth of the 'kindergarten' and draws links between it's education methods and the following influential 'modern' era. In fact, giving evidence that suggests Kindergarten was a key driver in providing the inspiration and tools for much of the modern art and architecture to be realised (such as Frank Lloyd Wright's architecture).

The book is interesting, captivating and beautifully presented and written. I wish Brosterman the best of luck in reaching his goal.

Via Robbin Brosterman and Kickstarter.

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A surving relic of the 1900s progressives: Preshill School

October 11, 2013, 8:13 pm

≫ Next: A Reggio inspired centre in Australia considers the experiences of the child in more ways than one

≪ Previous: Help Norman Brosterman republish 'Inventing Kindergarten'

Founded in Melbourne, Australia in the early 1930s, the privately run Preshill - The Margaret Lyttle Memorial School is a surviving experiment in progressive education.

The school started as a small cottage founded by a woman called Margaret Lyttle and moved to its current site in 1938. At the time the structure was a fairly typical upper middle class suburban house. However, many physical changes occurred over the next 44 years.

This extract from an article in the design observer by a long-time member of the school community sums up the school's somewhat contradictory formal and informal growth, resulting in a rich learning environment;

"It's the informality of it, coupled with complexity. Change in the school is almost always organic... There's a sense of evolution, of things being updated. If there's a tree, a building will twist itself around it...The school seems to have succeeded in allowing what was there 50 years ago to still be apparent".

Formal changes include the numerous classrooms, a hall, later retreat rooms and lastly - an upper floor library; each of which required conscious thought and planning. Yet additional to this have been the every-day informal (or even subconscious) changes: Plants, winding pathways, built huts, play equipment, animal pens, and even an underground air-raid shelter, which later became underground huts and mud pits. All a result of the ebb and flow of every-day school life.

The "progressive educational principles" of AS Neil, Montessori and Reggio Emilia that view the child as a competent and able decision maker inspired the young architect/parent Kevin Borland, who undertook the responsibility of designing the school hall.

Borland viewed the children as clients and active generators of the program and resulting form, and watched the children at play in the school to determine how the architecture might respond.

He also listened to the children's thoughts and ideas. For example where the adults wanted the new school hall to be at the front of the site (as they were concerned with the school's image), the children emotionally invested in the garden pleaded for the building to be located at the back. After much collaboration and negotiation, another design was born - a star-shaped hall in the rear corner of the site.

The children play an even more active role in constructing their school environment. Like the adventure schools in war-time Europe, they were allowed to test their creativity and capabilities - constructing huts and play structures. Branches, boards and sheets of ply are used in a continuous process of construction and then demolition.

Thus the children take an active role in their education, in turn developing a responsibility for their actions and ultimately their future.

Rather than being told what to think, they are taught how to think. Instead of conformity, the school celebrates the individuality of each child, allowing them to learn about themselves and uncover their own potential.

The building's of the school were perceived as offering extended opportunities for play and learning. Thus the external stairs becomes a ships prow, while a mezzanine accessible only by ladder and hardly big enough to stand up in makes a secret place connected to the classroom and yet apart from the general flow of activity.

Much learning takes place outside of the classroom - not just in the designated playground, but under buildings, in trees, among the gardens and the many nooks and crannies within the grounds. In contrast with the school's tradition of surveillance - where children are not permitted to go where they cannot be seen. Spaces, both inside and out are designed from a child's perspective - creating places to hide while collecting dust and dirt.

Today, many of the school's principles are again becoming celebrated - the school becoming a hallmark of brave innovative and progressive modernism. The school, like Italy's Reggio Emilia schools is perceived as a tool for learning, while landscaped gardens, natural materials and the promotion of active and explorative play are again popular themes in school design - with concerns on health, sustainability at the fore.

Via Design Observer, Australian Design Review, Which School? and Habitus Living.

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A Reggio inspired centre in Australia considers the experiences of the child in more ways than one

October 13, 2013, 2:34 pm

≫ Next: Planting ideas, growing minds - is the idea behind toy brand "seedling"

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Designed by Towill Design Group, Reggio-inspired Brisbane-based St Pauls Kindergarten derives out of the centres' ethos that celebrates the child and his or hers thoughts, ideas and way of perceiving the world.

Every design decision considers the child.

The architects not only worked with the staff when tackling the new build, but involved the children who explored ideas through drawing.

The children's drawn ideas for their new EC centre are displayed on the windows, which wrap around the entire building.

The centre is deliberately situated within close proximity to the Primary School, thus easing the transition for the child from kindergarten to school.

The classroom employes a number of techniques to delineate the space and it's functional use. A large circular mat encourages the children to sit and play together informally, while tables are set up which focus on a particular task. The space is kept flexible with moveable furniture and partitions.

The spatial layout consists of two "classrooms" or play spaces, connected by a central kitchen, stage areas and toilets. Thus becoming the central "hub" of activity and of kindergarten life.

Furniture, joinery and furnishings simultaneously work to create a series of "zones" catering to varying moods and activities. Large vibrant retro armchairs creates a special place to sit and reflect.

The kindergarten also considers the Reggio approach of bringing the outside in. The many windows and doors create a light-filled interior, and clerestory louvred windows allow for natural flow of air to ventilate the space.

Playful details, such as the scattered coloured brick (left) and the locally made stained glass windows (right) create a sense of identity and ownership. In future it is envisaged passionfruit vines will adorn the brick walls.

Many colours (such as the locally made stained glass windows) and materials (most natural) work to create a highly sensory and tactile environment.

The outdoors is treated as an equally important space - encouraging the children to play physically, creatively and imaginatively...

Play houses encourage role-playing.... and winding pathways encourage movement.

Ropes, slides and stepping trunks improve co-ordination and test the children's physical capabilities.

Pergolas, a veranda and large umbrellas transition between indoors and outdoors - creating a multitude of play and experiential zones...

St Paul's Kindergarten successfully creates a rich environment that demands children to interact with and own as theirs - turning the Reggio "many languages of children" idea into reality.

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Planting ideas, growing minds - is the idea behind toy brand "seedling"

November 5, 2013, 5:36 pm

≫ Next: Colour in wallpaper!

≪ Previous: A Reggio inspired centre in Australia considers the experiences of the child in more ways than one

The ethos behind NZ-owned and based toy company Seedling reflects the Kindergarten pedagogy that children learn through "play" or by partaking in creative activity. Alternatively, founder and owner Phoebe Hayman stresses that every child has ideas waiting to be explored, which echoes Reggio's philosophy of the "rich child" that has "many languages".

Founded in 2006, Phoebe being a hands-on Playcentre mum noticed that children if left to their own devices, preferred real tools over toys every time. Suddenly noticing a gap in the market: "You used to be able to go out into the neighbourhood with your friends and climb trees or whatever. But it's not like that now" (Mindfood, April 2011: p49). Thus Phoebe set out to create a series of products that provided children (and parents) with the tools to realise their creative potential in a single neat pack.

What started as four kits based on cooking, gardening, painting and outdoor exploration, has quickly expanded to over 250 products for a range of ages - from a kit making baby hand prints to a kit for designing a solar-powered plane.

The seedling kit provides children (and parents) with the tools to create everything from t-shirts and cupcakes, to a sunflower garden and a kaleidoscope.

Each provides quality materials and tools, with Phoebe believing that children "deserve real tools and materials". A concept that celebrates and recognises them as competent individuals.

Every year the product's designers release a new collection (with theme). Above "Let's get carried away" includes a kit to "create your own dolly" (above) and "a treasure hunt boat" or "sea shanty" (below).

While the kits contain the tools and materials, Phoebe maintains that there is a degree of 'open-endedness' to the product, encouraging the children to think creatively. While included is a series of suggested steps, there are no strict instructions or pictures of the completed project.

It is a concept that suggests children when given the right tools, opportunities and experiences have unlimited potential.

Via Seedling. To shop their product see goodthingsforkids.com.

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Colour in wallpaper!

December 18, 2013, 7:16 pm

≫ Next: Interactive Skin - a wall installation that invites imaginative play

≪ Previous: Planting ideas, growing minds - is the idea behind toy brand "seedling"

What a fantastic idea. Designed by Jon Burgerman (via).

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Interactive Skin - a wall installation that invites imaginative play

January 13, 2014, 7:04 pm

≫ Next: A book that promotes a new (fun) way of learning for all ages

≪ Previous: Colour in wallpaper!

The best thing about the internet is connecting with like-minded and inspirational people.

Bree Angela (designer and fabric artist) recently got in touch with me and kindly shared her latest experience in collaborating with artist Nick Cave and Faust Design Studio to create the'Second Skin' exhibit held at the Denver Art Museum.

Bree's experiences as a designer and art educator for young children has led to a passion for creating more transformative spaces for children to explore their creative and imaginative capacities. I admire her passion and her perceptive response below.

1.Where did the inspiration for the idea of an interactive skin come from?

Nick Cave is known for his intricately sculpted Soundsuits. And, as Cave refers to them, they are "armor or second skin," they seem to protect the wearer's identity, gender, race, and class with their bright colors and wild character. One's identity is safe behind the costume giving the wearer the permission to express themselves freely without judgement. They become someone- or something-else. This was the inspiration for the 'Second Skin' interactive exhibit. Participants could decorate, tear down, and re-decorate their own Soundsuits.

Nick Cave's 'Sound Suits'

2.What did you learn while bringing the idea to fruition?

I learned that felt is a fabulous material! Kids really connect to felt and the felt board concept! There is such a familiar and wonderful tactile experience when playing in a natural soft environment. The process of choosing the best way for the children to interact in this space intuitively turned out to be an important learning experience. Keeping the pieces open ended and reversible with no extra attaching elements or particular order allowed for more energy to go in to the creations themselves. Especially, after absorbing the 'Sojourn' exhibit, which was incredibly beautiful and quite ornate! The simplicity of this space, although colorful and filled with unusual forms, allowed children and their families to express what they just experienced without any rules or limitations. It was a blank felt canvas!

3.What do you believe to be the most overlooked aspect in regards to designing for children?

I think that there is sometimes too much information, direction, and maybe too much expectation happening in designing for children. By that I mean, there needs to be more open ended design, where imagination creates the space, not vice versa. If you take a look around at some of these designs its like, ok...here is what I want you to do, here is what I want you to learn. Its already layed out in a way where the kids can see A to B. What if there were more spaces that allowed for kids to think out of the box, to explore imagination itself? I think designers should keep that in mind. Allow the children to participate in the design of the space. This encourages leadership, self expression, and endless imagination.

4.How do you think we can raise awareness of the importance of creating imaginative spaces for children in the public realm?

Creating an awareness for public imaginative spaces for children is slowly, but surely, starting to unfold. We are in a time in history where we, like the Reggio Emelia folks, can look around and see that in order to change the future for the better we need to put love and energy into the children and the way they learn. I'm hoping that the Education System and the Art Industry can continue to brainstorm and collaborate to really focus on the potential of children's imagination and learning capacities. I'm also hoping there is more exposure on artists such as Nick Cave that are community driven and act as a vessel for others, especially children, to explore their creative potentials. The more conversations about people like this will spark awareness, which will spark the movers and the shakers to bring new ideas to the public.

The exhibition installation runs until the end of March. For more information, see Denver Art Museum.

Images via Faust.

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A book that promotes a new (fun) way of learning for all ages

January 15, 2014, 6:18 pm

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'Learn for Life: New Architecture for New Learning' is a colourful new book featuring a range of architecture that exhibits the new wave of educational and working environments embracing play.

Operating on the premise that life is an ongoing education, this collection of kindergartens, universities, workplaces, libraries and even installations show us that "work" spaces (where we spend much of our time) need not be drab, but inspire creativity and a sense of fun.

For example, BAMscape designed by Faulders Studio is a public seating environment located within the Berkeley Art Museum atrium gallery. Designed with wireless Internet and integrated outlets, the space encourages a range of activities, such as individual work, a place of meeting/social engagement or relaxation.

The Hjerring Central Library (above) designed by Rosan Bosch & Rune Fjord reflects our changing methods of acquiring knowledge, the design focusing on encouraging engagement and participation. A "communication structure" or red band, twists and winds its way through the library, breaking through walls, floors and bookcases.

It is an architecture that acknowledges that by designing different types of space, such as those conducive to small or solo occupancy as well as that which facilitates opportunities for collaboration can result in better learning and working outcomes.

For example the above school, Orestad Gymnasium in Copenhagen is the first of its kind to be designed to foster collaboration and informal study zones. Interconnected vertical and horizontal zones enables different teaching and learning spaces to overlap and interact with no distinct borders. The rotation of each floor plate opens a part of every floor to the vertical central atrium, expressing the school's ethos of providing an inter-disciplinary education.

Ring Around a Tree designed by Tezuka Architects is a "classroom without furniture", an addition to Fuji Kindergarten. With many ceiling heights being just tall enough for a child to pass through and platforms located at varying climbing levels, the design puts the physical needs of the child at the forefront.

Colour is a major theme throughout the book. Elap Arquitectos’ Nursery 8 units in Vélez-Rubio, Spain (above) is a world of light and colour. Walls, windows, floors and furniture are mixed and matched in heady shades to stimulate minds and create a sense of fun. While circular windows tinted emerald, aqua, rose and tangerine stream a rainbow of sunlight across the interior.

Kekec Kindergarten designed by Architektura Jure Kotnik is an addition to an existing kindergarten. The new structure tends to the original kindergarten's lack of play equipment, creating a playful slatted vertical facade.

A childcare centre can also provide public amenities, such as the Ecoplois Plaza in Madrid (above) serving the community even outside of day care hours and vibrantly regenerating an area of urban sprawl.

The Geopark designed by Helen & Hard is situated in the heart of Norway's oil industry and utilises recycled petroleum related elements, transforming the formerly abandoned site into a bustling urban space. The waterfront park accommodates a range of activities - biking, skating, climbing, exhibition, sports and relaxation; the topography reflecting the geological layers of the field.

A playground that also doubles as a beautiful sculpture/installation is the Woods of Net in Ninotaira, Japan. Tezuka architects and artist Toshiko Macadam collaborated to create a hand-knitted land of colour and form for children to crawl and jump on.

Located in a rural area lacking basic hygienic amenities, the Split Bathhouse in China serves as a community centre for the surrounding region. Conceived as an incubator of social, cultural, sanitary, environmental and economical change, two building's - one for women and one for the men face a communal greenhouse. Encouraging public expression and a playful relationship with the architecture, the exterior walls are covered with blackboards.

The book offers a lovely snapshot of inspiring architecture that is encompassing the progressive early childhood pedagogy of individual and collaborative work and play - offering freedom and choice and encouraging creativity and imagination.

Via Gestalten.

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A revitalised school and nursery is integrated with a public sports arena and auditorium - becoming the "beating heart" of the neighbourhood

January 22, 2014, 12:06 pm

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When a design for a new sports arena using an old war bunker was deduced insufficient in size, the hunt for a new site began. This led to the idea to integrate the new sports arena with the redesign or of a tired old school and nursery, Ny Krohnborg.

Designed by Rambøll Norge + Arkitektgruppen Cubus AS and located centrally in the neighbourhood of Løvstakken, Norway, the fusion of sports and cultural arena with a school and nursery provides a new "hub" for social integration and activity whilst revitalising and giving new energy and optimism to the community.

The existing site occupies a tight and inclined space between two streets. In order to fit the new sports hall, stage, musical facilities and cafe, the school yard was excavated and the new facilities inserted below. Enabling the neighbourhood activities to break out onto the street edge.

The original school building was a listed historic building. Therefore the new design works to respect the character of the old, whilst infusing it with new life. Natural stone, slate roof tiles, small pane windows, cast iron details and panelled doors are maintained.

Subtle changes include allowances for better natural light, increased functionality and new doors and windows between the classrooms.

The new structure however, is a stark contrast to the old, expressing lightness, colour and a lively energetic form.

The circulation within the school/cultural centre was given serious attention and thought. While the original school provided narrow flights of dark stairs purely for circulation, the new design employs a number of circulation spaces - lifts, ramps and stairs with improved lighting, visual signage and colour coding.

The large atrium space serves as a central point not only connecting one space to another, but as a comfortable and lively space to hang out and take in the hub of activity.

A major aspect of the design was for the architecture to work seamlessly with the landscape. The school yard located atop the cultural centre cleverly breaks out onto a central landscaped courtyard facing away from the street below. The many ramps, levels, textures and undulating forms cater for a number of play activity - skating, running, cycling, climbing and acrobatics.

Ny Krohnborg is an example of how a school and nursery might serve more than just the children. Rather creating a place which welcomes the entire community.

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A kids drawing of their dream school is made into reality as a "soaring ark"

January 23, 2014, 12:24 pm

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≪ Previous: A revitalised school and nursery is integrated with a public sports arena and auditorium - becoming the "beating heart" of the neighbourhood

The'Rainbow Ark Soaring in the Sky' school designed by Japanese architect Kikuma Watanabe was brought to fruition to alleviate poverty in the Sangkhlaburi Village in Thailand.

Due to a desire to a provide a better future for the children, the village teacher asked the children to draw the school of their dreams. One, a flying ship, was then translated into the design.

The design is comprised of solid round 'earth bag' volumes on the ground and a floating, light steel and bamboo structure with a grass roof above.

The earthbag domes conceived as "launching pads" that supply the ship with the energy of mother earth.

The upper structure as a ship that is soaring in the sky.

The school has become a successful place for the community to enjoy studying, playing, and praying everyday.

The round volumes create a sense of comfort, security and warmth, and are used as a prayer dome, entrance dome and classroom. The upper "soaring" spaces used as a Buddhist room and classroom.

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A new facility in New Haven embodies the principle of the environment as a teaching tool

January 28, 2014, 12:16 pm

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The new Friends Center for Children building designed by Patriquin Architects has been occupied now for four months, and the administrators, teachers, parents and children could not be more happy. “We are especially proud of the design features that aid in the education, wellbeing and delight of the children that learn here everyday,” says Center Executive Director Allyx Schiavone.

The purpose-built facility is located in New Haven amongst acres of protected forest and wetlands, providing a serene and inspiring backdrop for the children's learning and discovery.

The architecture (form, materials and connections to the outdoors) promotes the child's inner curiosity and need for adventure, while maintaining the much-needed balance for "homeliness", comfort and security. Says Arie Mobley, “My daughter is thriving at the Friends Center, where the learning environment is safe, open, comfortable and stimulating.”

The architects worked with the educators in instilling the centers' principles of community, equality, peace, simplicity and truth. “We worked with the Center’s director and building committee to find ways in which the building would serve as a teaching tool,” says architect Karin Patriquin. A movement studio, an exposed structure, mechanical systems, a rooftop garden and a rain collection and water play area - encourage inquistiveness and holistic learning about construction, the environment and scientific principles.

Designed to meet the U.S. Green Building Council Silver LEED rating, the building includes a car charging station and bicylce racks; and high-efficiency heating and cooling. Attention was also paid to using low VOC materials and finishes to maintain a healthy indoor air quality, while classrooms receive natural light, ventialtion and access to the natural outdoors.

It is a thoughtful and considered design that reflects the child as an individual, social, competent and active learner.

Via Patriquin Architects and the Friends Center for Children.

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A centre in Colombia's Medellin sows a seed for improved education and architecture

January 28, 2014, 7:14 pm

≫ Next: A parking lot in New York City is transformed into a garden, greenhouse and culinary classroom

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The Carpinelo Kindergarten is one of a number of new educational facilities "mushrooming" in the poor Colombian city of Medellin - a city that suffers inequity, war, drugs, trafficking and ecological instability.

Designed by Ctrl G Estudio de Arquitectura, the large early childhood facility is conceived as an organism - the modular form responding to the local topography. A concrete canopy links the various forms, adding unity to the complex structure.

The use of a Voronoi diagram-type arrangement gives way to a multitude of inner gardens, classrooms, teachers’ rooms, and open courtyards serving as playgrounds. By multiplying and rotating, spaces undergo both centrifugal and centripetal forces, bound by diagonal blue-steel frame ramps, which act as gently inclined runways that let the children run and explore freely.

The project forms part of a wider vision for: an improved transport system, schooling, housing and public spaces, the cleaning up of the rivers and streams, building police and security centres and inaugurating business development centres.

The 'kindergarten of gardens' is to sow a seed for change - instilling and strengthening community spirit.

Via InDesign and The Architectural Review.

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