BAM 课堂 | 1900 年至今未建成的那些先锋游乐场
所有设计师的手中都或多或少有这样一些项目：它们从未被建成。只是我们通常不会谈论这些项目，也很少向人提起。而随着这些未实现的项目出现的“未实现”设计理念，却沿着千奇百怪的道路触碰到了艺术成就和梦想潜力的顶峰：早在 1900 年，就出现过与时下设计前沿惊人一致的设计理念，它被认为是早期儿童玩乐领域的思想领袖。每隔一段时间，一个未实现的想法就会被重新审视和建造。以下这些设计中，你觉得哪个是在概念提出 30 多年后才建成的?
All designers have projects that were never realized, we just don’t usually talk about and share them. The unbuilt playground ideas that follow have in different ways reached pinnacles of artistic reach and visionary potential. Ideas going as far back as 1900 advocate for children in striking alignment with today’s cutting edge thought leaders of early childhood play. Every once in a while, an unrealized idea is revisited and constructed. Which of the ideas that follow do you think was built more than 30 years after conception?
▲ 2007 年 6 月，Frank Gehry 宣布将在曼哈顿最南端的炮台公园设计打造他职业生涯中的第一个游乐场。然而，Gehry 计划使用 1000 万美元 —— 这远远超出了预算的 400 万美元。而超级风暴“Sandy”的来袭，更是使项目陷入了僵局。Gehry 的设计里有几个令人眼花缭乱的滑梯，一个“绿色”休闲区站，还有一个儿童可钻进去的大鸟笼子。It was announced in June 2007 that Frank Gehry would design the first playground of his career in Battery Park, Manhattan’s southernmost point. Unfortunately, Gehry’s $10 million plans far exceeded the $4 million budget and complications from Superstorm Sandy brought the project to an impasse. Gehry’s design included several dizzying slides, a ‘green’ comfort station and a child-sized birdhouse.” (Guerra, Anne. Never Built NYC Projects. Untapped Cities, Nov 2015.)
▲ Saul Bass（美国，1920 - 1996），以给电影标题和公司 logo 设计图形而闻名。他设计了一个游乐场设计（模型见上图），并将迷宫一样的高架步道和雕塑元素结合在一起。这原本是为纽约 Longwood 区域的低收入人群设计开发住房项目的，但最终未能实现。Saul Bass (American, 1920-1996), known for film title and corporate graphic logo design, conceived one playground design (model, pictured) complete with elevated maze-like walkway and sculptural elements. Intended for a site in the low-income housing development, Longwood (NY), the design was never realized.
▲ Bass 为电影《桃色血案》设计的标题图形，导演 Otto Preminger，1959 年上映。Film title graphic by Bass for the film, Anatomy of a Murder, directed by Otto Preminger and released in 1959.
▲ Bruce Alonzo Godd（美国，1904 - 1982)。《Gene and Nancy Bavinger House》，室内设计展示：楼梯以及悬挂式儿童游乐空间，1950 - 1951。这是 Bruce 对战后四四方方的盒状住宅空间的挑战。室内没有任何墙壁，这个空间就好像是“从一个浅浅的峡谷或溪流附近，有机地冒出来的”。Bruce Alonzo Godd (American, 1904-1982). Gene and Nancy Bavinger House; Interior View Showing Stairs and Suspended Children’s Spaces, 1950-51. An effort by the artist to defy the boxy spaces of postwar housing. Here there are no interior walls, as though the space were rising out “organically from the site near a shallow ravine or stream.” (Ogata, Amy F. Century of the Child, Growing by Design 1900-2000. Pg. 172)
▲ 桌面壁纸。Desktop wallpaper (anonymous).
▲ 《最终幻想7》。Final Fantasy VII.
▲ 野口勇（美国，1904 - 1988）和 Louis I. Kahn，《游乐山》，1933 年，石膏模型。这是野口勇最早期的作品之一，将纯艺术带入了人们的日常生活。野口勇将《游乐山》形容为：“我的所有关于雕塑和大地的想法，都源自于它的内核。” Isamu Noguchi (American, 1904-1988), and Louis I. Kahn. Play Mountain, 1933. Plaster model. One of Noguchi’s earliest works that brought fine art to everyday living. Noguchi described Play Mountain as “the kernel out of which have grown all my ideas relating sculpture to the earth.” (Shaina D. Larrivee, Playscapes: Isamu Noguchi’s Designs for Play, 2011.Pg. 56)
“1934 年，野口勇带着他的《游乐山》会见了 Robert Moses。在了解到公园管理委员会计划在纽约市为儿童建造数百个游乐园后，他希望能用自己的设计提起 Moses 的兴趣。野口勇回忆道：‘Moses 几乎是嘲笑着把我们轰了出去。他觉得我冒犯了他，认为我的设计在要人命，并表示游乐场必须使用测试过的游乐设施，纽约不能做我设计的小白鼠。’”（Jon Earle, The Kinder Journal, Isamu Noguchi’s Never-Built New York Playgrounds. 005 Pedagogy.）
▲ 野口勇和 Louis I. Kahn，由粘土和石膏建造的纽约河滨列维纪念游乐场模型，1961 - 1962。Isamu Noguchi and Louis I. Kahn. Clay and plaster models for the Adele Rosenwald Levy Memorial Playground. 1961–1962.
此事件与一系列长达 10 年的拒绝，让野口勇一生痛斥 Moses，使他宁愿和建筑师（或私人赞助方）合作，也不愿直接与政府官员合作。但由于很多原因，野口勇似乎误解了对 Moses 接受他设计的期待。
▲ 野口勇和 Louis I. Kahn，纽约河滨列维纪念游乐场，1961 - 1962，石膏模型。露天剧场（左上）与阶梯金字塔和双滑梯假山（右中）。露天剧场地下为社区中心。在设计的第三次迭代中，野口勇和 Kahn 响应了公园管理部门的要求，一次次反复更改设计直至项目保持在预算范围内。与此同时，附近的一部分居民更佳赞成开放的公园项目而非混凝土建筑，他们认为这是一个“虚荣奢华”的项目。两任市长后，城市对项目的拨款只剩下预期的一半，纽约河滨列维纪念游乐场最终被搁置。Isamu Noguchi and Louis I. Kahn. Detail of model for the Adele Rosenwald Levy Memorial Playground. 1961–1962. Plaster. Amphitheater (top left) with step pyramid and twin slide mountains (center right). Community center underground beneath amphitheater. In this third iteration of the design, Noguchi and Kahn had responded to Parks Department requests to make design change after design change to keep the project within budget. At the same time, a group of nearby residents in favor of open park space over concrete structures picketed against what they deemed a “vainglorious” project. Two city mayors later, with only half of the project’s cost promised from the city, Adele Rosenwald Levy Memorial Playground was ultimately abandoned.
首先，也是最重要的，在 1934 那年，市政游乐场是城市规划师和景观设计师负责的领域。此前纽约从未聘请过艺术家来“雕琢”公园地块。其次，对于纽约和其他市郊区域来说，游乐场是一个新鲜事物，距离其实现实验性和“创造性游乐”的复兴还有几十年的时间。再次，在野口勇的同行中，雕塑家主要专注于离散的美学对象；艺术家们对大地进行大规模互动性的实验，在 20 世纪 60 年代末的土地运动兴起之前，没有任何以显著方式实现的环境。（Larrivee, Shaina D. Playscapes: Isamu Noguchi’s Designs for Play, 2011.Pg. 55）
▲ 野口勇，联合国游乐场模型，1952，石膏。Isamu Noguchi. Model for United Nations Playground, 1952. Plaster.
▲ 野口勇，1970，1968 年世博会美国馆，上色石膏。展览设在地下，地面是一个宽敞的屋顶花园。一个巨大的太空气球悬浮在距离地面240 英尺的高空。评审团认为此设计对参观者在展区内的流动性考虑不周。Isamu Noguchi. U.S. Pavilion Exposition 1970, 1968. Painted plaster. Exhibits are housed underground, allowing for an expansive garden rooftop. A large space balloon hovers 240 feet above grade. Visitor flow through exhibition space was considered poorly thought out by the judging panel.
▲ 军事训练设施。Military training apparatus.
“（对于野口勇来说）游乐场不应该被设计成用来训练新兵的军事训练设施……他认为孩子们应该拥有人类最初体验地球环境的那种感受，游乐场应该被设计为一个壮观又复杂的地方。” Dakin Hart 在《野口勇：古风/现代》中写道。
“[For Noguchi] playgrounds should not be designed like military exercise equipment for a cheaply executed boot camp... He thought children should experience the environment the way man first experienced the earth, as a spectacular and complex place,” Dakin Hart writes (author, Isamu Noguchi: Archaic/modern).
▲ 野口勇，夏威夷 Ala Moana 公园里的游乐设施，1939。当项目未能实现时，野口勇将设施带到纽约城市公园部门，询问了负责安全测试的相关人员。致力于消除人们对危险的担忧，野口勇在 1941 年再次回到 Robert Moses（公园管理负责人）的办公室，展示了“浮雕”游乐场的设计。Isamu Noguchi. Playground equipment for Ala Moana Park, Hawaii, 1939. When the project failed to realize, Noguchi brought the equipment to the New York City Parks Department who responded by inquiring about safety testing. Determined to address concerns about danger, Noguchi returned yet again to the offices of Robert Moses (Park Commissioner) to present Contoured Playground in 1941.
▲ “浮雕”游乐场没有任何类型的游乐设施，完全由低矮的螺旋丘陵和地面的凹陷组成。野口勇被告知公园管理部门可能会将设计融入中央公园，但从未实施过任何计划。此外，由于美国加入了第二次世界大战，公园部门的建设计划因此被暂停，直到 20 世纪 40 年代末才恢复。Without equipment of any kind, Contoured Playground is comprised of low-pitch mounds and hollows in earth. Noguchi was told that the Parks Department may be able to fit the design into Central Park, but no plans formed. As the US entered WWII, the Parks Department construction program froze and did not resume until the late 1940s.
在经历了连续 30 年的失败之后，野口勇在美国成功建造的第一个游乐场是位于乔治亚州亚特兰大的雕塑游乐设施。该项目由私人赞助，野口勇认为，绕过亚特兰大的公园管理部门是此项目能够被成功建造的主要原因。
“野口勇在纽约河滨列维纪念游戏场之后的设计创意，与此前并不相同……他削弱了在之前设计中想要表达的观点，去除了土地改造的工程并更偏向于使用现成的游乐设施。”（Larrivee, Pg. 72）
▲ Lina Bo Bardi 写道：“我试图在特里亚诺阳台营造这样一种环境 —— 可以让普通走人入进去，在那里逛逛户外展览，聊聊天，听听音乐，以及看看电影。” 她希望看到“孩子们在早晨和下午的阳光下尽情玩耍”。“I tried to create an atmosphere on Triano Terrace, I’d like for the common people to go there and see outdoor exhibitions and chat, listen to music, watch films”, wrote Lina Bo Bardi. She expected to see “children playing in the morning and afternoon sun.” (Zeuler R.M. de A. Lima: Lina Bo Bardi, Yale University Press, 2013, Pg. 131)
“海洋公园”， 由 Charles Downing Lay 设计于 1900 年至 1930 年美国的后奥姆斯特德（post-Olmstead）时期，被比作维多利亚时代的“游乐场”。 在对城市化的理解上，Lay 的开放空间设计是概念上的城市基础设施 ——“这是个能提高生产效率的系统的一部分……”
Lay 的奥林匹克景观是一台巨大的“机器”，在这台机器中，组织化的比赛和竞技运动甚至可以把最难管理的移民群体变为充满活力的美国公民。康尼岛（Coney Island）一直是社会改革家最喜欢的替罪羊——这个区域充满了令人作呕的肉欲和道德堕落。而 Lay 的设计定位则特意着眼于此，要为纽约的工人阶级提供了一个健康的、积极向上的选择。(Thomas K. Campanella, University of North Carolina at Chapel Hill, “Playground of the Century: A Political and Design History of New York City’s Greatest Unbuilt Park”)
Lay 的海洋公园设计在 1936 年的柏林奥运会上获得了一枚银牌，这是美国历史上唯一一个参加奥运会的公园。Robert Moses 选择不对公园进行开发，以符合奥运会的要求比例。今天的海洋公园占地 800 英亩，是纽约地区一个被遗忘的开发区域。
▲ BAM，上海游乐场，2014 年。在一对隔板之间，用巨大的、固态的球体制造出“混乱的漩涡”（图片正中）。在相邻的一对分区之间是一个水平定向的步入式万花筒，可由儿童手动旋转。“垃圾山丘”（图片最左）呈现出一个非常陡峭的斜坡，用隐藏式的基本元件帮助孩子们攀登或下滑。可能是由于资金短缺，BAM 的客户并没有对超越性的概念设计进行投资。从那以后，BAM 把“万花筒”这一元素从众多创意中拆解出来，在大兴西侧公园游乐场建立了一个垂直的版本。BAM. Shanghai Playground, 2014. Between a pair of partitions is an engulfing ‘jumble’ of big stationary balls (center). Between a neighboring pair of partitions is a walk-in kaleidoscope, horizontally-oriented, which can be rotated manually by children. ‘Junk yard hill’ (far left) presents a very steep incline with submerged basic forms which can help children ascend/descend. BAM’s client did not invest beyond concept design likely due to unavailable funds. A playground of many ideas in one, BAM has since unpacked the kaleidoscope idea to build a vertical version at Daxing West playground.
▲ Szekely Pierre，《瓦兹上的香槟》部分细节，1961 年 。（已被拆除）。如图所示，穿越 BAM “垃圾山丘”的过程，就像是在 Szekely 的雕塑上下玩耍过程的初学者版本。Szekely, Pierre. Detail of Champagne sur Oise Oise, 1961. (Demolished.) The journey across BAM’s ‘junk yard hill’ was imagined to be a beginner version of the journey up/down Pierre Szekely’s sculpture, pictured.
▲ Szekely Pierre（匈牙利，1923 - 2001），《瓦兹上的香槟》，1961 年。（已被拆除）。Szekely, Pierre. (Hungarian, 1923-2001) Champagne sur Oise Oise, 1961. (Demolished.)
▲ Szekely Pierre 和 Soleil Bipède，1968年。Szekely 另一个用来练习登山的雕塑。Szekely, Pierre. Soleil Bipède, 1968. Another Szekely sculpture for practicing alpinism.
▲ Szekely Pierre 和 Soleil Bipède，1968年。孩子们和 Szekely 一起注视着施工动作。Szekely, Pierre. Soleil Bipède, 1968. Children watch as Szekely contemplates the next construction move.
▲ 南京的一道佳肴：鸭头。A delicacy of the Nanjing region: duck head.
▲ BAM，“鸭子”游乐场，南京，2015 年。在“摇曳”的芦苇丛间的安静森林空间。BAM. Nanjing “Duck” Playground, 2015. Quiet forest space among ‘light’ reeds.
▲ Olin 工作室，26 号码头游乐场，纽约。Laurie Olin（美国，1938）的团队设计了“大西洋鲟鱼”，成为占据哈德逊河的最大鱼类。Olin Studio, Pier 26 Playground, New York. Laurie Olin’s (American, b. 1938) office designed occupiable Atlantic sturgeon after the largest fish in the Hudson River.
来自得克萨斯大学奥斯汀分校（University of Texas at Austin）的教授，也是儿童早期游戏和游乐场设计的思想领袖 Joe Frost 博士写道，20 世纪五十年代的“新奇时代”，以及七十年代的“梦幻雕塑”都是为了“拓展儿童的想象力”。设计师们创造了火箭、汽车、动物，以及其他字面形象 —— 比如 BAM 的南京“鸭子”和 Olin 工作室的“鲟鱼”。“这些基本上都是固定的，很难被小孩改变或是移动，也很难使其对成年人产生吸引力。”而奥特曼在匹茨堡游乐场里的形象，无论是在规模还是质量上，似乎都很容易被孩子们接受。
Dr. Joe Frost, Professor at the University of Texas at Austin and thought leader in early childhood play and playground design, writes about ‘Novelty Era’ ‘fantasy sculptures’ of the 1950s and 70s as “intended to exercise the imagination of children.” Designers created rockets, vehicles, animalia, and other literal figures much like BAM’s Nanjing duck and Olin Studio’s sturgeon. “These were essentially fixed and resistant to change or movement by children and described by some as more appealing to adults than to children.” Otterman’s Pittsburg playground figure seems to be at a scale and of a quality that easily embraces children.
▲ 火箭滑梯，“新奇时代”的游乐场设备。Rocket slide, ‘Novelty Era’ playground apparatus.
▲ Otterness Tom（美国，1952），美国匹兹堡，Aspinwall 河滨游乐场。Otterness, Tom. (American, b. 1952) Aspinwall Riverfront Playground, Pittsburgh, USA.
▲ BAM，南京游乐场之备选方案，2015。在一个住宅开发项目中的游乐场设计，从南京“鸭子”之后走入了截然不同的方向：先是出现了带有六边形顶棚的攀登塔，接着又设计了能使人迷惑其中的反射镜像。BAM. Nanjing Playground, alternative option, 2015. Set within a residential development, designs for the playground subsequently took drastically different directions after beginning with the Nanjing Duck: climbing tower with a hex-cell canopy, then mirrored forms capable of trick reflections.
▲ BAM，南京游乐场，2015。实验：探讨科学与艺术之间的相互反应。如何将铺陈图案置于镜面材料中，以揭示一个与众不同、使人惊奇的图像？BAM. Nanjing Playground, 2015. Experiments with the science and art of reflection. How can paving patterns be reflected in the mirror-surface of a form to reveal a different, surprising image?
▲ BAM，深圳游乐场，2014年。BAM 被要求为大型住宅项目制作一个“艺术装置门户”，并且要通过一个互动的游乐空间来满足这一需求。一条机械手臂让下面的空气保持充分流动；篮球架在“树”雕塑上以不同的高度悬挂着；用于攀爬、扭转、隧道的网状结构；起伏的地形，球场和“碗”加大了各器械之间的互动性。BAM. Shenzhen Playground, 2014. BAM was asked to make an ‘art installation gateway’ for a large residential development and interpreted the requirement by proposing an interactive play space. A robotic arm blows air onto anything it spots below. Hoops dangle at different heights from a sculptural ‘tree’. Netted forms for climbing twist, tunnel, intertwine. Terrain undulates, pitches and bowls to facilitate interaction with apparatus.
▲ BAM，重庆广场设计提案，2013。BAM 提出了互动的“手臂”这一设计概念。在其中一个部分，细长且向下垂的柱状结构的末端挂有悬垂的喷嘴，水从其中喷射而出。而在此概念的第二代版本中，从喷嘴喷出的不是水而是空气，力度足以吹动头发、让皮肤变形。BAM. Ideas for Chongqing plaza, 2013. BAM proposes interactive ‘arms’. In one option, water spirts from nozzles dangling at the end of thin, drooping columnar forms. In a second iteration of the same idea, air shoots from nozzles hard enough to blow hair and move skin.
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