It’s a little hard to believe that the first PlayGroundology post, Manhattan’s Bronze Guy, was published five years ago. Based on an interview with American artist Tom Otterness, it features his limited edition sculpture, Playground, which had caught my eye before the Colorado version of the piece adorned Google as a background image.
Since then, play has become my volunteer vocation much to the delight of our three young kids aged 9, 7 and 5. Along the way, the PlayGroundology blog has won a couple of Canadian blogging awards and racked up readership from over 160 countries. More importantly though, I have had the opportunity to become long distance friends, and in some cases meet, with fine ‘play’ people from Scotland, England the US, Canada, Ghana, Singapore, Japan, Australia and elsewhere.
London’s Glamis Adventure Playground from Mark Halden’s presentation at Play Summit in Glasgow, Scotland – April, 2014.
Among the many things that continue to strike me is that this world of play is broad, deep and inter-connected. Passionate parents, educators, professionals in health services, public administration and child care, practitioners, researchers, designers, landscape architects and lay people are amongst the stewards and advocates for children’s inalienable right to play.
Also in that first year, who knew there would be an opportunity to be Going Philatelic in Singapore? Connecting with Justin Zhang for that post resulted in a follow up a couple of years later when his e-book with photography and writing on these culturally attuned playscapes were featured in the blog.
I continue to find joy in sharing public playspaces that break the mould, that boldly present alternatives, speak to place and do not shy away from risk. Early in year two, Alfio Bonanno’s Himmelhøj (Sky High) located on Copenhagen’s Amager Island came to my attention. It is a playspace of place, elemental in a natural setting even in its proximity to urban development.
In year three, I discovered Pierre Szkéley and his love of cement. The architect used it to great effect in a number of sculpted playgrounds in France dating back to the 1950s. There is a certain je ne sais quoi about the work, a sense of future forms creating a new physical narrative for kids to explore.
Pierre Székely’s L’Haÿ-les-Roses, 1958. Photo credit – As-tu dèja oublié?
PlayGroundology’s fourth year continued to explore the intersection of art and play in posts that examined Ann Hamilton’s the event of a thread and Jason Richardson’s Australian playground music – transforming playground equipment into instruments…
Photo credit – James Ewing. Source – Park Avenue Armory
In PlayGroundology’s fifth year, I fell in love with ‘loose parts’ thanks to friends at Pop-Up Adventure Play, Brendon P. Hyndman’s research in an Australian primary school and the wonderful people at Nova Scotia’s Youth Running Series who provided me with the chance to run my first public play event – oh it was intoxicating…..
The blog continues to afford an endless journey of discovery – meeting people, admiring design, becoming familiar with the rudiments of play theory, developing public play activities and of course, playing. I’ve learned that play is under duress in countries around the world including the post-industrial economies. I’ve met with great generosity of spirit and experienced passionate engagement on behalf of kids with play people players of many nationalities. It seems there is a renaissance of play underway with resilience and risk advancing in tandem. Play matters…
I want to thank PlayGroundology’s readers for your comments, kind words, story ideas. I plan to be sharing stories of great play happenings for another five years and hope you’ll be able to join in.