For toys, we recognize both intelligent design and evolution, as well as mutual support in developing new ideas. We are still looking for ways to combine form and function. Initially, the toy was created by landscape architects who sought to create a public space that unites communities. Artists continued to use their influence and in this process began to discover more creative forms of toys.
So how did we get here? Traditional “post and platform” design is not always the norm today.
In 1900, the toy appeared in major American cities and consisted of a sandpit and a Cubist metal climbing device known as a “gym.” In 1912, New York City decided that these gyms were not safe and removed them from all parks. In the 1930s, landscape architects were seriously interested in toy design, and sculptor Isamu Noguchi introduced abstract concepts that helped move modern toys forward.
After World War II, Baby Boom demanded more toys. Most of the city’s playgrounds after the war were designed for common use between schools and parks. But in the 1950s, toy designers split into two camps: recreational (fitness) and art. The game is a structured activity. The idea of an unstructured game is not yet at home. Improving surface safety is slow at best. The game is limited to sandpits, chainsaw, slides and swings. In the 1950s, attention was paid to the “handicapped”, ironically as a result of wounded fighters from World War II and Korea, who came to toys with their children. Noguchi’s famous 1952 proposal for the United Nations was rejected by Robert Moses and resulted in a heated debate. The design was revolutionary but misunderstood and not built.
In the 60’s, parts of the game began to connect. The composite structures were examined with large climbing structures made of wood and stone. The goal is to make the toys interesting and attract children to them, or if they don’t come back on the street – it’s probably not good. Not all toys are poles and 메이저놀이터 platforms. The adventure course in Central Park is a wonderful shot of this time of transition, when art and play combine. Water flows in long streams and collects in the tank where it flows – no water stands. There are sand, water and climbing structures. Every landscape architect should take a trip to this historic park!
In the 1970s, we entered an age of litigation. Suddenly, New York and Chicago found themselves in millions of dollars in damaged homes and parks began to close. Real estate values fall when they have toys. Other teams in NYC have been closed. New York City has eliminated the sawmills and they remain blacklisted. Insurance premiums are so high that some cities have decided to insure themselves. In the 1980s, this debacle began to calm down as the CPSC developed guidelines and the NPSI (National Playground Safety Institute) introduced a certification program for playground designers. Toys made for safety are following new recommendations as guidelines, and some states are now enacting the CPSC Code.
The toy is back firmer with creative climbing frames that encourage children to use different muscles. The slides have upper cabinets and higher side walls. It’s safer to rush – it should be. Most toys are getting better and better, and in 2004 we had a toy that was so safe that it was hard to say no. At the end of the day, the bones are still broken, but this is common in children who fall 2-3 feet or fall while walking. Their bones are weaker and let’s say there are always one or two children in the class who quickly put the plaster on. You can’t owe a toy
Isamu Noguchi will be the father of Natureground. Its concepts are used today: the acquired earth forms create hills, slopes, bends around which toys can be placed. Research has shown that when placing toys in the natural environment around trees, plantings, berm, rocks, children use them more often and for a longer period of time. A toy that has fallen into a box or rectangle will look institutional and less attractive. It seems that children also have an aesthetic feeling, and we designers have noticed these things.