What's worse than a broken bone? A playground that plays it too safe
'Surrounding the Balfron Tower was this series of windswept concrete walkways and this quite weird concrete playground,' says Australian artist Simon Terrill, who had a residency in Balfron Tower. 'If you fall over you lose the skin off your knee or your elbow.'
Yet, like many defenders of Brutalist architecture, Terrill recognised 'a distinction between the exterior, which was quite bleak, and the interior, which was completely amazing'. Working with British architecture collective Assemble, Terrill created the Brutalist Playground, an interactive installation series that recast three rough-textured concrete playgrounds in pastel-coloured foam.
'Remaking those objects at one-to-one scale in foam gives an opportunity to revisit those utopian ideas and reflect on our changing relationship with ideas of risk and agency and what play means,' says Terrill.
Their foam version of Park Hill Estate's playground features in the latest incarnation of the international touring exhibition The Playground Project. Since 2013, the exhibition has travelled to eight countries, from the US to Russia and Ireland to Switzerland, adding regional examples with each incarnation.
Travelling to the Southern Hemisphere for the first time, it is showing at Incinerator Gallery in Aberfeldie, which is housed in a disused incinerator designed by Walter Burley Griffin and Marion Mahony in 1929.
Curated by Swiss urban planner Gabriela Burkhalter, the exhibition is a fascinating social history incorporating early childhood development, psychology, architecture, urban planning, landscape design and art.
The Incinerator's Jade Niklai commissioned local content including BoardGrove Architects for the exhibition design and a new exterior playground called Ringtales. Visitors wend in and out of the various colourful floors and stairwells of the building, which itself feels like a playground writ large.
Burkhalter's playground story is essentially a response to industrialisation, urban migration and density pressures. Equally it pulses with an adrenaline rush of risk. The show peels back the layers of protective bubble wrap, revealing 19th-century qualms about potentially contaminated sand gardens – ironic given children worked in dangerous factories – to legitimate safety concerns over the so-called 'junk' or adventure playgrounds pioneered in Europe in the 1940s.
Junk playgrounds contained loose elements – building and scrap materials, natural elements and tools – that kids controlled themselves, sharing and negotiating with each other. English landscape architect Marjory Allen, who imported them to Britain, the US and Japan, declared: 'Better a broken bone than a broken spirit.' This plucky ethos suited a postwar generation that grew up scampering over London bomb sites. The Blitz spirit transferred nicely to the relatively safe terrain of the junk/adventure playground.
The adventure playground movement spawned regional examples worldwide. Well-loved local versions sprang up in St Kilda, Fitzroy and The Venny in Kensington. As The Venny's honorary principal, David Kutcher, explained in the first of a series of accompanying talks for the exhibition: 'The risk of any loss through physical injury is actually low. Children require exposure to setbacks, failures, shocks and stumbles in order to develop strength and self-reliance and resilience. The road to resilience is paved with risk.'
As modernism took hold in the 1950s and '60s, industrialisation infiltrated the playground. Concrete was one response. Steel and plastics were another. For Burkhalter, the Swiss-designed modular play sculpture the Lozziwurm from 1972 is emblematic of the new industrial materials. It also prompts one of the key forms of socialisation – negotiating with others. There is no one way to travel through the worm. The idea is that kids sort it out.
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Risk aversion reached its apotheosis in the 1970s in the US. 'It made sense at the beginning because playgrounds were so badly maintained that there were a lot of accidents,' says Burkhalter. Today, while all manner of regulations govern community facilities, there is also recognition that safety needn't hamper creative play and risk-taking.
Risk is built into artist Mike Hewson's controversial Southbank playground Rocks on Wheels. Its ad hoc charm – part Heath Robinson, part Wile E. Coyote – looks set to detonate at any time. Its teetery quality encourages risk and creativity as the playground itself looks like it's been built by a child.
Artists feature prominently in the exhibition. Burkhalter's initial interest in playgrounds was inspired by the heroic dedication of Japanese-American artist Isamu Noguchi. For more than 30 years, from 1933 to 1966, Noguchi planned a range of playgrounds, from landscapes to sculptural equipment. Most went unrealised. He once recalled pitching his Play Mountain to Robert Moses, New York's imperious city planner, who 'just laughed his head off and more or less threw us out'.
Among Burkhalter's own urban planning colleagues, the reaction to the playground project was almost as dismissive as Moses. 'Playgrounds were considered small and not very prestigious,' she says. And this despite the outsized influence of Swiss developmental psychologist Jean Piaget, who said that 'play is the work of childhood'.
Burkhalter remained undaunted: 'I understood that the people who were active in these fields had visions about design, society, childhood. That fascinated me.'
Terrill is one of three Australian artists who feature in the Melbourne show. Trawlwoolway multidisciplinary artist Edwina Green won the competition to design a First Nations playable public art sculpture. Her abstracted oyster honours the cultural significance of the Maribyrnong River and 'invites children to play, imagine, and connect with Country', she says.
Artist Emily Floyd and designer Mary Featherston literally bring the politics of play and community cooperation to the table. The pair's Round Table includes a child-height table and chairs; each of its elements – day care, infant health, kindergarten – is a seat at the table.
Indeed the exhibition highlights that playgrounds aren't just about children. Professor Mel Dodd, dean of art, design and architecture at Monash University, says: 'The health and wellbeing of families in smaller, increasingly denser environments relies on public places that you not only can safely bring your child to play, but also socialise yourself. Amenity of that nature is absolutely critical.'
Playgrounds also offer citywide lessons. 'The design of the public realm can be playful for adults as well as children,' says Dodd. 'It's definitely the case that playfulness aids health and wellbeing. We need our public environments to look fantastic, to look exciting.'
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All the way from spending some time together, being at home with Katie, knowing the location a lot better, it definitely gives you an overall better feeling as you go into this tournament." Alex de Minaur has revealed the difficulty of having to blank out the disappointment of his fiancee being knocked out of Wimbledon as he focused to keep his own title ambitions afloat at the grass-court grand slam. British star Katie Boulter bowed out, surprisingly beaten by Argentine lucky loser Solana Sierra, on Wednesday on the eve of de Minaur's own second-round match, which, after an absent-minded start, he won in four sets against French qualifier Arthur Cazaux. The exit of the high-profile Boulter was a headline tale in the British sports - and news - pages where her relationship with de Minaur as the most celebrated couple in tennis often features too. After the loss, she told reporters gloomily: "Sometimes I just have to accept that my moment might not come." De Minaur, who attended her match on Wednesday, was left to try to console his 28-year-old other half, to whom he got engaged just before Christmas. "There's no real rule book that you can go on, but it's not ideal, it's not nice," said the sympathetic 26-year-old Sydneysider. "I felt for Katie yesterday, and I've been in those positions myself. It's not easy by any means to forget about it. It's something that kind of stays with you. "On my side, there's obviously the part of doing my best to comfort her and try to be there for her, the same way she is there for me through the good stuff and the bad stuff. "It definitely does have a little bit of impact on yourself, and you've got to do your best to try and have a mental reset and kind of shift your focus towards yourself, realising you do have a match the following day that you've got to prepare for. "It's not going to be an easy one, it's going to be a battle. So, it's a lot of different aspects to deal with, which aren't easy. I think I can get better at it, but that's experience." De Minaur has become much more of a favourite with the British crowds since the pair became an item. "I've felt an amazing shift of support the last three or four years, and spending a lot more time here in the UK, it's been quite special," said de Minaur, calling Wimbledon his "second home slam" after getting a rousing reception following his 4-6 6-2 6-4 6-0 win. "It feels like I'm growing roots here. All the way from spending some time together, being at home with Katie, knowing the location a lot better, it definitely gives you an overall better feeling as you go into this tournament."