ARCHITECTURE THAT AFFORDS PLAY

by PAUL ERIC FALLON

B.S.C.E., Massachusetts Institute of Technology, 1977

Submitted in Partial Fulfillment of the requirements for the Degree of Master of Architecture at the Massachusetts Institute of Technology June 1981

Paul Eric Fallon 1981

The author hereby grants to M.I.T. permission to reproduce and to distribute publicly copies of this thesis document in whole or in part.

Signature of Author ...... G,% :~...... Department of Architecture May 8, 1981

Certified by . John Rando irTMyer, Professor of Architecture /2 Thesis Supervisor Accepted by. Sandra C. Ho~dll, Associate Professor of Behavioral Sciences Chairman, 0ff Departmental Committee for Graduate Students MDepartment of Architecture OFTECHNAeuY

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LIBRARIES

ARCHITECTURE THAT AFFORDS PLAY

by

PAUL ERIC FALLON

Submitted to the Department of Architecture on May 8, 1981 in partial fulfillment of the requirements for the Degree of Master of Architecture

ABSTRACT

Play is a form of behavior common to all people. A person's propensity to play depends not only on his physiological and emotional state, but also on his surroundings. This thesis investigates environmental qualities condusive to play, and poses some ideas about how designers can provide opportuni- ties for both active and fantasy play in places that we use on a regular basis.

The thesis addresses the issue of 'what is play?' by estab- lishing a working definition of play in terms of an individ- ual player and his surroundings. This definition then serves as the basis for evaluating how a number of quite different environments afford play for their users. These observations provide the framework for developing some design parameters which an architect might use in designing places that afford play. The parameters are then applied to a short design exploration of how the main corridor at MIT might be redesigned to better afford play.

Thesis Supervisor: John Randolph Myer

Title: Professor of Architecture p -=

Thesis is about coming to terms with your mortality. Paul Pressman

\\ \\ W \ \ Many thanks

... to anyone who's ever spun around a lamp post or slid down a railing ... to Congo Catie who introduced me to rational thinking ... to Jack Myer for saving me from it by revealing the intuitive ... to the Capell's for having such a wonderful willow tree ... to Rosemary Grimshaw for advocating violence ... to SOM for designing 'the tomb of the unknown tool' ... to Ben Snyder for recounting his Las Vegas adventures ... to the Lampy's for sharing their Castle with a Techy ... to Marty Myer, Mimi St. Clair, and Mayer Spivack for their enthusiasm ... to Ellie Siegel and Bill Warren for teaching me a new word ... to my fellow inmates of the thesis room for holding up well in captivity ... to all my friends who think I've died and gone to hell in the last four months ... to Lisa Dobberteen for putting up with all my play and all this work ...

THANK GOD I'M FINISHED

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ABSTRACT .* 3

ACKNOWLEDGEMENTS . .* 5

TABLE OF CONTENTS . a 0* 6

ONE - INTRODUCTION 8

TWO - A DEFINITION OF PLAY . 014

Theories of Play . . . 017

Play Domains .. 0 0 30

Characteristics of Play . 034

The Definition . 042

THREE - OBSERVATIONS 43

Willow Tree . 046

The Forest of Winnie-the-Pooh . 048

Boston Children's Museum . 054

Brooklyn Children's Museum . 0 0 60

Jack's 68

Nameless Coffee House 71

The Harvard Lampoon Society 74

Las Vegas 82

Great Adventure 88

Hyatt Regency Hotel, Atlanta . 096

Brattle Theater Alley . 0101

Government Center Subway Kiosk . 0 . . 104

N '\\~2> Suffolk County Courthouse . 0. . 108 FOUR - DESIGN PARAMETERS FOR ARCHITECTURE THAT AFFORDS PLAY . . . 114 What Makes a Good Place to Play . . ... 116 Scale Manipulation ...... 119 The Sense of Theater ...... 125 Reinterpreting the Familiar ...... 130 The Essential Dose of Delight ...... 132

FIVE - DESIGN EXPLORATION . . .- 135 MIT Corridors ...... -- 136 Play at MIT ...... - 141 Generating the Design Concept . . .. . 146

Theme A: Mini-Classicism ...... 148

Theme B: The Lighter Side of Technology . . . 152

Theme C: Main Street ...... 158

Commentary ...... 164

Main Street Revisited ...... 166 City Center ...... 172

THE END OF THE BEGINNING OF ...... 183

NOTES AND SOURCES ...... 184 BIBLIOGRAPHY ...... --- 190

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NCE UPON A TIME... So the story goes that a young man spent all his Christopher Columbus dis- free hours at the harbor. covered that the world was He was fascinated by the wide round during contemplative expanse of the sea, the height play amidst the bustle of of the masts, and the grace of the harbor. His ability to the sails. He delighted in play allowed him to look at watching ships sail far out to the world in a new light and sea. In his pleasant world of understand the opportunities reverie he noticed that the of its roundness. Throughout masts were visible long after history, the ability to play the hull had disappeared. has helped man* to survive This puzzled him, and led Throughoutthis thesis, the generic world him to seek the new use of the words 'man' and 'he' which lay beyond the horizon. do not imply gender. and flourish, adapt and cre- Our ability to fulfill essen- ate. It is an essential tial life processes is a func- component of human culture tion of our emotional and which can be found in the physiological state as well as roots of law, music, liturgy, the surrounding environment. military tactics, and debate. We live in a world whose phy- sical form increasingly Play is also a critical segregates us into separate component for the healthy places to sleep, eat, learn, development of each individ- work, play, be born, pray, ual. Like eating, sleeping, and die. Modernist concepts working, grieving, or rejoic- of planning and design appor- ing, play is an essential tion each section of a city or life process, a type of part of a building into spec- behavior common to all people ialized components which meet that nurtures the mind and particular functions. These challenges our physical capa- concepts are guided by the bilities. In our society, belief that man can reach his play is largely associated maximum potential in any as- with childhood, yet Erik pect of his life in an envir- Erikson has shown that main- onment which is specifically taining a sense of playful- designed for and dedicated to ness is also a critical com- that purpose. ponent of interesting and fulfilling adult lives. 1

10 Although the immediate envir- Let us recognize that a strivingfor self-realization, onment can indeed affect our for poetry and play, is basic to man once his needs for food, clothing,and shelter have been met. behavioral responses, the 2 processes of our lives cannot Ivan D. Illich be treated as mutually exclu- sive functions. Our emotional and physiological fiamework well as in the ball field. can operate on many levels, This does not mean that every simultaneously or in sequence. place should, or even could, An environment which only enhance every life process. In promotes one kind of response the design of a particular may not help fulfill other place, the programmatic require- essential processes. Since ments and commonalities among we are capable of reading its users should determine what several layers of meaning into mix of life processes is most our world, it is possible desirable. to create places which can encourage a variety of life processes at once. Just as Christopher Columbus enjoyed Man only plays when he is human in the full sense contemplation in the bustling of the word, and he is only completelyhuman harbor, we can find learning when he is playing. in the workplace as well as Friedrichvon Schiller3 the school, reverence in the park as well as the church, and play on the sidewalk as This thesis explores the rela- Although play is an important tionship between play and the component of everyone's life, physical world in order to the thesis concentrates on understand how it can become adult play. As people grow a more integral part of the older, they tend to devalue built environment. It does the significance of play, not investigate the play which relegating it to specific architects and others pursue times such as weekends or during the creative process vacations. Also, adults of design. Rather, it seeks usually play in structured to discern some of the qual- settings, dedicated to playing, ities in our surroundings unlike children who usually which can facilitate people's make little distinction be- ability to play and explore how tween play and other activi- architectural elements and ties. However, since almost relationships can afford play. all literature on play deals with children and their behavior, children's play will frequently be cited in dis- cussing the salient character- istics of play.

i24C The methodology of the thesis primarily serve functions is one of personal observation other than play. From the and inquiry based on an under- definition of play and speci- standing of the nature of fic observations, Chapter play. Chapter Two briefly Four outlines some design THIS SOUNDS MORE LIKE WORK analyses various theories of parameters which can be used THAN PLAY play, the domains of play in creating environments places, and the characteris- that afford play. In Chap- tics of play behavior. This ter Five, these design para- information provides insights meters are applied in a for developing a definition of design exploration of how play which can be used in the public corridors of MIT evaluating how the environ- might better afford play. ment can foster play. In Chapter Three, this definition is applied to a variety of places which in some way fac- ilitate play. Observations are made of places specific- ally for children, adult play There's less to this than meets the eye. environments, and places which TallulahBankhead

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14 ... maybe such phenomena as playfulness or youthfulness or alivenessare defined by the very fact that they cannot be defined.

Erik Erikson1

The term 'play'has long been a linguistic wastepaperbasket for behaviorwhich looks voluntary, but seems to have no obvious biologicalor social use.

Susanna Millar 2

No behavioral concept has play is a concept that does proved more ill-defined, not solely belong to the pro- elusive, or controversial vince of one area of science than play. The term enjoys or social science. As a re- the status of being conceived sult, many people in various and perceived as a very sub- fields have undertaken to jective, idiosyncratic form of classify human play, but no expression. The reasons for one classification is all- this are not totally clear, encompassing. Even this study although the fact that each does not seek a complete person has an intuitive idea definition of play, rather one of what play is may contribute which relates features of the to the difficulty. Another built environment to charact- SAY IDIOSYNCRATIC eTHREETIMES FASTy problem of definition is that eristic forms of play behavior. Traditionally, studies of analyses of play sometimes play took a philosophical lose sight of the unique char- and phenomenological approach acteristics of this form of which imbued play with mysti- behavior. The disciplines of cal or religious qualities not biology, philosophy, psycho-

A RIGOROUS amenable to rigorous examina- analysis, behavioral psychol- EXAMINATION Is NOT MY IDEA tion. Although these ogy, education, and ecological OF PLAY approaches provide insight in- psychology provide a range of to the meaning of play, they views concerning play. A don't address the questions of brief discussion of how each 'What is play behavior?' or of these areas describes play -'What are its determinants?' will provide insights that can On the other hand, scientific lead to a definition of play. Additional insights can be obtained by looking at the do-

The world of play is not one that can be seen; mains within which various it has to be experienced. forms of play occur, and soie Mayer Spivak 4 salient characteristics of play behavior. By synthesiz- ing this information in terms of the objectives of this study, a definition of play can be formulated which can serve as a tool for evaluating how the built environment can foster play. 16. ]HEQDIES OF]FLAY

Biological explanations of power. There is an explanation play search for physiological of play which describes it as a reasons why play occurs. Such form of cultural evolution by explanations are based on the which the customs of our ances- assumption that play must tors are handed down. This serve something which is not accounts for the imitative play. Species with highly nature and role playing aspects developed logical thought of play which provide training processes or social structures for the serious work of life. I TINK, tend to play more elaborately than those whose similar Philosophy takes a much dif- faculties are less developed.5 ferent approach towards play, This leads to the hypothesis seeking both its essence and that play has biological value its formal structure. Play as a means of changing or is a paradox in which one adapting to an environment. intensely pursues a goal which Play serves both as a mechan- is soon forgotten and inconse- ism for discharging excess quential. Therefore, through energy and also as a way to play one realizes the supreme relax and regenerate exhausted 17 importance and utter insigni- it can absorb the player in- ficance of his existence. It tensely. It has no material is not related to either wisdom interest; no profit can be or folly, truth or falsehood, gained by it. Play proceeds good or evil; it has no moral within prescribed boundaries of functions. In play, people both time and space according can achieve a degree of concen- to fixed rules. It promotes tration and spontaneity which the formation of social group- exceeds their normal behavior. ings which tend to surround They can view the world from themselves in secrecy, stress- unique and different vantage ing the difference between points. The new perspectives themselves and the common world which are found in play can through disguise and other 8 often become the roots of means. artistic expression. The psychoanalytic view of Play is the expressionof exhuberentenergy, play uses such ideas as in- and the origin of aZZ art. stinct of mastery, wish ful- Friedrich von Schiller 7 fillment, assimilation of overpowering experiences, leave of absence from real- The formal characteristics of ity and the superego, and play are described as a free fantasy. Play is a reenact- activity which is quite con- ment of a situation in which sciously outside 'ordinary' the player works something life. It is not serious, yet out or provides discharge for instinctual drives. It is a internal drives to control fantasy with the purpose of our lives. mastering inner and outer conflicts as well as mastering We see that children repeat in their play everything on them in actual life... the environment. Play pro- that has made an impression all their play is influencedby the dominent wish vides the opportunity to of their time: vii. to be grown-up and to be able people do. transcend ordinary ego levels to do what grown-up of functioning to experience Sigmund Freud 9 the world of wonder, peace, love, anguish, and joy at an However, in this effort to intuitive level. In play, our control his life, the player desire for a perfect world never totally loses his sense under our control is satisfied of reality. In psychoanalytic We recreate the world to our terms, thought processes can liking and fulfill our wishes be described in two different in role playing and day- ways. Primary thought is the dreams. When children build unconscious thought of dreams airports or skyscrapers they and free association found in are gaining control over the id. Secondary thought is things that ordinarily dwarf the conscious, logical thought them. Similarly, a vacationer of the ego. Normally, one type who carefully selects which of thought dominates our mind resort to visit is dictating at any one time, but during the conditions of his sur- play they are closely aligned. roundings. Thus, play is the The primary thought processes external manifestation of allow us to suspend reality

119~ is ~) I during play while the secondary referred to as Funktion- processes retain the quality of slust, or the pleasure which make-believe. A jungle gym is derived from the exercise may become a mountain where of a newly developed function climbers hang precariously or skill. By developing and close to death, yet regardless practicing skills through play, how intense the play, the real- children assimilate the exper- ity that it is only play re- iences of the world around mains clear. them and come to understand their relationship with other parts of the environment.

Within the dream the dreamer is usually unaware that he is dreaming, and within 'play' he must often The same type of pleasure be reminded that 'this is play'. is a part of puzzle and prob- Gregory Bateson lem solving,play in adults. Cognitive psychologist Jerome In behavioral psychology, play Bruner believes that the most is seen as a means of discov- fundamental form of intellect- ering the uses and limits of tual pleasure is derived from the human body. The solution reducing surprise and complex- of a problem is not the object ity to predictability and 12 of play, rather play is a simplicity. The pleasure process of trial and error comes from the act of finding which allows each person to the pattern or solution, and learn how to cope with the not in the solution itself. actual world. This process 20 ilany Deople find solving the Sunday New York Times cross- word puzzle a challenge they Punctuate this: vigorously pursue all after- THAT THAT IS IS THAT THAT noon. Similarly, the complex rhythms of an intricately IS NOT IS NOT IS IT IT IS patterned surface invite us to seek its underlying order.

The reasons why people play During play, people have an are related to the extrinsic "internal locus of control" and intrinsic models of man's in which they feel in control motivation. Extrinsic motiva- of their actions and resulting tion provides a material re- outcomes. Thus when play is ward for reaching a certain described as Funktionslust, an goal. It is the type of mo- activity pursued for its own tivation upon which industri- sake, it is actually being alized society and economy is pursued for the intrinsic re- based. Play, however, is ward and associated feeling intrinsically motivated, where of control. the drive to become involved in an activity is internally generated and the reward comes In order for a child to understand something he from the process of performance. must construct it himself, he must -invent it.

Jean Piaget 13 The use of play in an educa-

Play is the child'swork. The world is his tional context stimulates new laboratory,and he is the scientist. Play is the ways of structuring thought. research by which he explores himselfand his relationship to the world. Most logical, rational, prob- lem solving approaches to a M. Paul Friedberg 1 4 situation involve vertical thinking, wherein the solution Educators have recognized the is derived after building a value of play since the time of sequence of irrefutable steps. Plato. It affords a release The solution arrived at will from the stress and strain of not be wrong, but it may not work, providing opportunities be the best one possible. for activities which are self- Play does not require logi- motivated and test physical and cal, rational thought pro- mental cpabilities. Creativity cesses. Instead, it welcomes is closely associated with play; different ways of establishing the mathematician's play with relationships between objects LATERAL THINKING numbers and the sculptor's or ideas and thrives on se- IS WHAT YOU DO LYING DOWN play of forms are each creative quences of events which are expressions of educational unusual, if not impossible. value. Play frequently utilizes lateral thinking, which is based on generating ideas means Play means altering the goal to suit the 16 at hand, whereas problem solvingmeans altering rather than proving answers. a fixed goal. the means to meet the requirementsof Lateral thinking does not 15 Jerome Bruner require a step-by-step ap- "Contrariwise,'continued Tweedledee, 'If it was proach, it allows jumps in so, it might be; and if it were so, it would be; logic and can even begin at but as it isn't, it ain't. That's logic." the point of a desired solu- Lewis CarrolZ tion. Lateral thinking is responses from different peo- a creative adjunct to the ple, indicating that there is vertical, logical approach a direct correlation between to thought which can be devel- local environmental factors, oped through play. a person's propensity to play, Psychoanalytic and developmen- and the type of play likely tal theories of play usually to happen. Studies by Gump examine play behavior indepen- and Sutton-Smith illustrate dently of where it takes place. how the same children had Ecological psychology, however, very different responses to is concerned with the role of play opportunities, depending the environment in fostering on the setting. 18 play. Ecological psycholog- ists investigate the proper- Understanding the environmen- ties of the environment which tal variables involved in play can enable certain kinds of would be very helpful to behavior, such as play, to building designers, but at occur. 17 Play settings pos- this time there are few stud- sessing similar attributes ies which add much relevance will elicit similar play beyond the laboratory setcing.

9 It is also important to remem- rigid, sufficiently extended, ber that the environmental and at knee-height, can be factors which influence play used to sit on. The proper- are only one variable in a ties described can be measured form of behavior that also in standard units of physics, depends on the physiological but whether a person can actu- and mental state of an indi- ally sit on it depends on his vidual. There are, however, relationship with the object. two important theories in eco- A horizontal surface eight log-ical psychology that link inches off the ground affords play and the environment in sitting for a small child, ways which are useful for this while it affords stepping for study. These are the theory an adult. Gibson maintains of affordances and the theory that the composition and lay- of optimal arousal. out of surfaces constitute what they afford. If this is The term'affordance' was de- so, then to perceive objects rived by ecological psycholo- is to perceive what they afford. gist James J. Gibson from the This implies that 'values' and verb 'to afford'. An afford- 'meanings' of things in the en- ance is what the environment vironment can be directly per- One objectcan provide offers, what it provides or ceived.19 Affordances are many affordances. furnishes for the people or therefore objective and sub- animals who live there. For jective at the same time. They example, a surface which is are real and physical, yet basically horizontal, flat, laden with value and meaning.

2.4 N One way to analyse the envir- onment in terms of fostering play, therefore, is to seek out elements which afford play as well as satisfying their primary or functional purpose. A delivery chute not only affords easy transfer of packages, but may provide a child with a new way of egress. Similarly, a window with a deep sill affords light, view, and a place to rest things for anyone. Yet, if someone knew such a window as a child, it could also afford associations with his youth. Such associations could evoke any number of responses, but a designer might seek out which physical elements or spatial configur- ations have pleasant or play- ful associations for the users of a particular place. The functional purpose of both the delivery chute and the deep

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window are available to all, stimulus. The amount of stim- but special affordances are ulus varies for each individ- available to people of differ- ual, but there are different ent sizes or who attach norms for various cultures and different meanings to the physical settings. People elements. gravitate towards their op- timal level of stimulus by For the healthy, a monotonous environment eventuallyproduces discomfort,irritation, and editing stimuli in over-stim- attempts to vary it. When at ease, animals ulated environments or magni- and humans choose relativelynew rather than familiar sights and sounds. fying it in under-stimulated ones. The subway commuter Susanna Millar2 0 blocks out tremendous noise, The theory of optimal arousal smell, visual, and tactile adds additional insight to stimuli through daydreaming play by formulating the pre- or reading. In general, urban mise that man's responses to environments produce increas- his environment are not always ing amounts of stimulus, es- rooted in some biological pecially visual and auditory need; he seeks stimulation ones. The sounds of the woods for the sake of stimulation. which provide meaningful Thus, play becomes a valid stimulus to forest animals activity in and of itself. have less impact on people who Different environments The optimal arousal theory are accustomed to the constant provide various types and levels of stimulus. postulates that each individ- hum of traffic. ual functions most satisfac- torily with a given amount of 26- Although the long-term conse- quences of constant exposure to a high-stimulus environment is unknown, there are indica- tions that when people have the opportunity to select their surroundings, they generally seek out higher stimulus environments. Many people flock to shopping malls, discos, theme parks, and con- certs as opposed to pursuing more sedate activities such as reading or strolling in their free time.

The implications of this for architecture are clear. A look at LeCorbusier's houses at Pessac before and after the modifactions by inhabi- tants indicate that people sought a higher level of stim- ulation than the International Style provided. Although eco- logical psychologists believe 27 that play behavior is moti- What then are the types of vated by the need to elevate stimulation that can move man stimulus in under-stimulated to play? Psychologists most environments, this should not frequently include simple be construed as a call for intensity, meaningfulness, banality in order to foster variation, novelty, complexity, play. While some people may surprise, and incongruity. respond to low-stimulus by These also happen to be most playing, violence and boredom of the same qualities that are other potential responses. elevate architecture to an For example, most prisons and art. many public high schools are places where the physical Each of the theories of play environment offers very little discussed present relevant

IT IS PERFECTLY stimulus to its inhabitants. and worthwhile points, yet CLEAR THAT THIS none of them provide a comp- AM GUOUS Yet these places would hardly be considered playful. lete definition of what play is. The fact that play is free yet controlled, clowning yet contemplative, gregarious yet solitary isn't revealed To be glad with the gaiety of laughter,to throw off the stiff and wearing attitude of seriousness by such analyses. The essence and jollity is, and to abandon oneself to mirth of play is that no matter how in truth, to begin to play. serious or intense it may be, James 21 Sully it has a joyful mood and a consciousness of only pre- tending. That essence should not be lost in definition. Some of these theories, es- pecially those of ecological psychology, provide insights as to how play might be de- fined from the viewpoint of a designer interested in fostering it in the built environment. Other clues will come from looking at the physical domains in which var- ious play activities take place and analysing specific characteristics of play behavior.

There was a child went forth every day, and the first object he looked upon and received with wonder, pity, love, or dread, that object he became. Part of him for the day, or a certain part of day, or for many years, or stretching cycles of years.

Walt Whitman takes place within some sort of boundaries in time and space, it is possible to look at the physical requirements of various play activities. The condition.s conducive to these activities will provde insights for developing a The realm of activities definition of play for/the which are usually called designer. play fall into two broad domains. The first is con- Conscious play is the result scious play, frequently assoc- of an intentional decision by iated with organized recrea- a person to play. Many forms tion, physical exercise, and of physical exercise as well sports. The second is uncon- as cultural, social, and spir- scious play, often associated itual development are consci- with fantasy. Since all play ous forms of play. Most, but not all of these activities take place in prescribed play spaces. Organized contests A = such as sporting events usually have well-defined arenas. Games of chance or strategy take place around game boards or gaming tables. 50T7) Rituals and feasts are all Playgrounds are crutches - the city should be one big playground. cultural manifestations of play whose validity frequently Herman Hertzberger rests on a very particular setting, such as the Mardi Gras. The arts are also forms In order for children and of play which often depend on other people to play with the special facilities. Although world in a physical way, they murals, sculptures, and signi- must be part of that world, ficant architecture grace and not in some fenced off many public areas, theaters, area with a rope swing. museums, and concert halls Well-designed playgrounds can are the traditional locales provide interactive experi- where art flourishes, not ences for children, but the to mention studios and garrets, environment as a whole should offer opportunities for ex- The Funktionslust and physi- ploratory, manipulative play. cal aspects of much play do not occur in a prescribed Unconscious play behavior is context. Although playgrounds the province of fantasy, day- are supposedly the setting for dreams, and reverie. Once the running, climbing, ener- considered an evil tendency of getic, manipulative play the mind, fantasy is now normally associated with considered an important pro- children, they cannot ade- cess where the individual's quately meet that purpose. desire rules. Fantasy is a 51 way of explaining or postu- new futures out of nothing. lating some phenomenon, based As such, they need nourishment. on our own knowledge or desire When the environment offers Science tells us that the one or two clues which recall earth's rotation causes the our past or some well known sun to rise and set each day. entity, our mind is prone If such a fact is unknown or to make new combinations of or ignored, we might say these discrete elements, that the sun 'went to bed' thereby creating a reality or 'dove into the lake to from a few bits. For cool off'. To poets and example, the Chrysler Building children, a sunset is not a has a strong vertical differ- scientific reality so much as entiation and chunky setbacks an event which allows them to which conjure in our minds a postulate an explanation which rocky landscape or great is an extension of their own staircase. We can imagine experience. scaling, leaping, and occupy- ing its surfaces and inter- Although unconscious play does stices. The myriad rhythms, not require a specific loca- forms, and distinctive ele- tion, it can be prompted by ments of the Chrysler Building the surroundings. Fantasy can elicit more fantasies and daydreams are the fer- than the faceless mass of the tilizer for creative, innova- World Trade Center. tive growth where man relives his past and builds whole Yet maximizing stimulus is Environments for contemplation not the only mechanism that are often very personal and affords unconscious play. highly specific, but can also N Fantasy can also thrive in a achieve a level of resolution contemplative, meditative en- or perfection understood by vironment. However, such all. For example, the sculp- places are often charged with tures of Constantine Brancusi personal meaning; our homes, or the chapel at MIT by Eero our rooms, the memorabilia Saarinen have a clarity and and places of our past are universality that invite fertile areas for fantasy and contemplation. We do not re- daydreams. The essence of the spond to these as high or low- world we create in these day- stimulus environments. Rather dreams is associated with the meanings we find in our sur- ...every corner in a house, every angle in a room, roundings. For example, every inch of secluded space in which we Zike to hide, or withdraw into ourselvee, is a symbol Gaston Bachelard writes of the of solitude for the imagination... daydreams of the garret which Ga.ton Bachelard 26 are clear and rational, with a roof providing shelter and relating the sky view to the they provide a kind of pure earth below, while daydreams stimulus which simultaneously of the cellar are dark, earth- puts the mind at ease and in- ly, and in harmony with the vites it to transcend the irrational. 25 actual surroundings. Several characteristics of by external pressures. Once play behavior were noted in an individual is required to most theoriesof play and do something, it is no longer are common to almost any play play. domain. They are not all conditions for play, but any Play is delineated by a set of number of them may occur sim- rules known to all the players ultaneously. By briefly that describe a complete, con- looking at some major charact- sistent way of acting. In Si eristics, it will be possible conventional games, the rules 9A to obtain further insights are quite explicit, but in for a definition of play. make-believe or fantasy play they can change on a regular Play is voluntary. It occurs basis. When a child is play- only when the player desires ing with a doll, he will not and to the extent he wishes. make it fly unless he has It can be totally absorbing, predetermined that flight is demanding intense concentra- possible. He may later ARE YOU READING THIS tion for extended period rule and continue VOUTRLY? an change that Q of time, or it can be casual play, as long as all the play- and suspended momentarily. ers consent. The rules of Play cannot be a task imposed play don't need to follow the ordinary laws of life; normal Work consists of whatever a body is oblidged to do... procedures can be upset and is oblidged to do. play consists of whatever a body not the social hierarchy inverted. Mark Twain 54 Yet at any point, the players can distinguish between the structure of their make-be- lieve world and the rules of To play is to yield oneself to a kind of magic... physics and social convention to give lie to the inconvenient world of fact... be that govern everyday life. to enter a world where different laws apply, to relieved of all the weights that bear it down, to be free, kingly, unfettered, and divine. As previously mentioned, play occurs within fixed Hugo Rahner boundaries of time and space. However, the physical bound- aries that demarcate a play place need not correspond to the psychical. boundaries of fantasy and daydreams. Phy- sical boundaries are an inte- gral part of sporting events and theater, but also apply to other forms of play. A play-ground is marked off, either physically or mentally, in which the rules of play reign over reality. It de- lineates a temporary world dedicated to the performance of an act apart. A p Zay-ground Domination can Play also loves to be sur- environment. o orounded by an air of secrecy. be obtained by physically Although there is nothing achieving a superior position inherently secret or myster- in relation to one's surround- ious about play, a shroud of ings. The king-of-the-hill secrecy often envelops it, and the mountain climber both making it easier to occur. seek to gain self-esteem by. This aura of secrecy rein- conquering something which is forces the idea that play is much bigger than themselves. independent of everyday life. However, domination can also be The voluntary nature of play, obtained by miniaturizing the its rules, boundaries, and world around us. In a world aura of secrecy all serve whose physical elements are to put the player in a posi- smaller than usual we can feel tion of control. He decides larger and more powerful than whetherto play, where,and in our normal relationship with how to play, and makes his the environment. Complete play more valuable by keeping miniature landscapes, such as it a secret. Another way of doll houses or toy trains are gaining control through play magical because we can simul- is by dominating the immediate taneously explore the world in our mind's eye while remaining .. everything is small because-he is so high. And since he is so high he is great, the height of at its edge. We can be totally his station is proof of his own greatness. absorbed in the parts while Gaston Bachelard 28 56 always understanding and over- between the entire beach and seeing the whole. We are both its constituent parts. a child with free reign in the Other common objects, such landscape and a parental figure as blocks or boxes, can be who insures that no harm is combined in many ways, each done. Many children's toys of which provides a different are replicas of familiar envir- meaning and way of experienc- onments made small, so the ing the world. child can both explore the world freely and control its The process of play, not its THE MEANS course. product, is an important ele- JUSTIFIES THE END ment in its satisfaction. The Physical manipulation of the functional pleasure, or Funk- environment is an important tionslust, is a critical com- characteristic of play. Play ponent of the intrinsic goals is not exploration in the of role playing, splashing sense of discovering uncharted water, solving puzzles, and territories, but rather pro- similar activities. During ceeds by manipulating a known the process of play, the object in new and interesting player becomes more aware of ways. Children who form the nature of his actions. He mountains out of sand dis- enjoys a certain amount of cover their ability to make choice, a lack of constraint discrete elements from a from conventional ways of continuous surface, thereby handling objects, and a free- illustrating the relationship dom of movement. 57.- To climb adds unused dimensions,the awareness of such as hop scotch, jump rope, Play here gi6es a sense of divine our body. and dancing. leeway,of excess space.

Erik Erikson 29 People also seek out an image Freedom of movement is an of themselves with relation to essential characteristic of the world through play. Con- phys'icalplay. The pursuit sider the simple game of of vertigo or attempt to stepping on every crack in the momentarily destroy the stab- sidewalk. A person can play ility of perception inflicts his body against the sidewalk kind of voluptuous panic on a a grid and complicate his rhy- otherwise lucid mind. Some thms on the chance cracks in- cultures have ritual play tegrated into the surface. that illustrate this, such Similarly, when a child climbs as whirling dervishes. But into a box he not only learns roller coasters, sliding, about the box, but also about spinning, and hanging upside himself, his own size. Play down are all related play is constantly involved with movements. As soon as a measuring oneself against the child has learned to preserve environment, of coming to know his equilibrium in ordinary the body in relation to the walking, he complicates the dimensional characteristics of problem by trying to walk on the world. As a result, curbs and balustrades. Out of miniaturization is pleasant these serious efforts for not only for the domination it motor control come later play

Vr0 43)0 affords, but also for the of reality and symbolic play. scale juxtaposition it allows. Suspension of reality is the loss of one's real self by Physical measurement is not temporarily accepting an ill- the only way of seeing usory or imaginative self. oneself in relation to the Within the context of make- world of play. Our percep- believe, suspending reality tual reactions are influenced affords the opportunity to by the image of the body, test our abilities, to respond and we seek to see every to other people and the envir- object as endowed with life, onment in unpredictable, with bits of ourselves in it. personal ways. Children's drawings of houses are full of faces. After I am what I imagine I will be. they go to a fire station, Erik Erikson30 climb on the engines, and wear the chief's hat, they see In play, the phrase 'what if' themselves in every fire truck signals the beginning of and recall their experience symbolic play. In symbolic whenever the fire whistle play, a person imagines him- blows. self in a gratifying situation where all his needs are met or The search for body image in where an unpleasant reality is play leads to the characteris- altered. When reality has tics of play largely associ- been suspended, a splinter ated with fantasy - suspension becomes a doll's milk bottle, act of accepting mental pre- sentations as actual. It may flourish in a new reality or serve as a means of recon- structing the past. Building castles in the air is a form of illusion where one im- merses himself in most for- tunate surroundings. Such an Haven't dreams always liked to perch on high? image is a double illusion Andre Theuriet 31 that both acknowledges the reality of the castle and manifests an implicit trust sticks become men, and clouds that the future will verify become faces. Life is be- present hopes.3 2 stowed upon inanimate objects through the imagination in a A final characteristic of new reality that seeks crea- play is its humorous quality. tive expression. Role playing In adults, humor may result is a form of play in which from the sudden perception of people can work out frustra- an unsuspected relationship tions and control a sphere of between two otherwise unre- activity. Yet it also affords lated or incongruous ideas or a means of self-expression and objects. Thus, humor depends an opportunity to formulate on one's ability to know the their goals. Illusion is the real meaning of each object.

4~~O The phrase 'Alfred E. Neuman for President' sounds like a valid campaign slogan unless one knows who Alfred E. Neuman is. When someone incorporates this incongruity into their own personage to gain atten- tion or comic affect, it be- comes clowning or buffoonery. In architecture humor can result by juxtaposing the form, meaning, or function of elements. The roadside stand that is a shed turned into a giant hot dog is a kind of buffoon. However, since humor is always related to an indi- vidual's values and his abil- ity to extract the meaning of an incongruity, some people might see the hot dog stand as humorous while others might view it as a sort of blight or a shallow commercial trick. PLAY IS SUSPENDING THE WORLD AROUND US BY CREATING ANOTHER WORLD WHERE THE PHYSICAL REAL- ITY OF OUR ENVIRONMENT TAKES ON NEW SIGNIFICANCE. WE APPROACH THIS OTHER WORLD WITH The various theories of play, DELIGHT AND BECOME A CENTRAL the physical domains in which FIGURE IN CHOOSING AND GUIDING play takes place, and the ITS COURSE OF EVENTS. IN FINALLY, WE GET TO THE PLAY, WE REACT TO OUR SUR- DEFINITION characteristics of play behavior offer many insights ROUNDINGS IN NEW AND DIFFERENT with which to formulate a WAYS, WE SEE AND TOUCH OUR definition of play. This WORLD FROM ANOTHER PERSPECTIVE, definition can be used to AND ATTACH NEW MEANINGS TO evaluate how particular OUR ENVIRONMENT. places afford the opportun- ity for people to play. This chapter presents a series of observations where the def- inition of play is applied to a variety of places to see how they afford play. The thir- teen observations which follow were chosen for a number of reasons. Because evaluating the play opportunities of a particular setting is subjec- tive and somewhat personal, only places which the author has visited and played in were considered. Unfortunately this precluded studying such 45Q fantastic and playful archi- tecture as Gaudi's Park Guell, For most of us the world is not just to be visited, Nash's Pavilion at Brighton, tasted, sensed, associated with, in a life of tourism or passive compliance. We need to the Pompidou Center, and simi- in engage ourselves and our surround an lar famous buildings. However, interaction over time... our surrounds become the arena for our doing. this criteria helped to main- tain a focus on play in every- Jack Myer day environments and not simply in architectural wunderbar. The observations also sought to investigate a broad range of environments. There is a natural environment, a literary environment, two places specifically for children, a number of conscious play areas for adults, and a few places whose programmatic requirements do not include play, but which provide a variety of play opportunities. The magical lure of the number thirteen itself made it seem an appropriate number of places to study.

/ Ai The observations are not complete analyses of how each of these places function. Instead they concentrate on what aspects of the environment enhance the user's ability to play. In order to do this it it necessary to describe who the players are and what type of play they enjoy in each setting, whether it be of a passive, observational, intel- lectual, or totally absorbing nature. Although there is objective information that can help establish the play characteristics of a few environments, most of the observations are based on personal experience and appli- cation of the play concepts previously developed. The mild scent of the willow is much stronger, the leaves have darker undersides which form a backdrop for the ex- posed structure of the tree, and the light is softly filtered through the surface of the leaves.

Nature built wonderful play In a back yard in suburban opportunities into this willow New Jersey, there stands a tree. It is a reassuring and willow tree, quite like one supportive environment that that could be found anywhere. provides a strong sense of This- particular tree provides place. It is..well defined and hours of both rambunctious' organized, yet provides many and quiet play for the children opportunities for dynamic in the neighborhood. The movement and new tactile and golden strands of the willow visual experiences 'which in- tree present a smiling face vite us to enter the realm to the world about it, much of play. It is an inside like a giant haystack. But place outdoors, where the peo- by slipping through the slen- ple can stay well hidden, der leaves, one can find a but still see what's going on completely different world. outside. This inside world 4(3 is organized around the cen- While playing in the willow tral trunk, a sort of hearth tree, we can associate our to which every part of the tree body with its trunk, our arms relates. By climbing around with its branches, and our and through the sturdy branches clothes with its shimmering one discovers the relationship leaves. We feel good about of all the parts to the trunk being there and delight in and to each other. Lying on rambling around this hidden, the ground in this interior labyrinth world. When our world, one sees the structure play nears its end, we can of the tree from a new per- inscribe some symbols on the spective, looking straight up trunk to leave a trace of our- into the exposed skeleton. selves for the next players.

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The fantasy tales we know from own. In the Wizard of Oz, the childhood are not just made up yellow brick road leads Doro- of wonderful characters. They thy out of trouble and to the also contain complete environ- shimmering Emerald City where ments which are constructed to her wishes come true. In perfectly match the character's Mary Poppins, the rooftops of needs. When we read such a London become a playground fantasy we are transported to between heaven and earth another world whose physical where the sooty chimney sweeps definition may be quite dif- are free and unfettered. One ferent from the one around particularly engaging world us. We play along with the is the friendly forest where characters in this other Winnie-the-Pooh, Christopher world, whose aspirations are Robin and all of his friends usually quite similar to our engage in high, but harmless, adventures.

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Pooh's forest is an exceedingly hospitable place. Each charac- ter lives in his own tree or warren, which has generous However, within this world space around it. The forest which is both a secure olace has all sorts of familiar for Pooh and a familiar image trees, brooks, and landmarks to most readers, the size of which not only make it seem-an elements in the environment and ideal home for Pooh and his how they are used afford play. friends, but makes it a wonder- First of all, the characters ful, comfortable place for us come in three basic sizes. :50 Christopher Robin is a small child like the rest of us, but "It aZZ comes, ' Pooh crossZy, not in the forest he becomes the said 'of having front doors big enough." largest, most respected inhab- A. A. Milne itant. He lives in the highest part of the forest where he has a commanding view of the sur- roundings and all the animals he befriends. Pooh, Rabbit, Eeyore, Owl, and Kanga are all about the same size. It does not matter that in the real Each character has a house world bears are much larger which is proportioned to his - than rabbits, let alone little size. This seems quite ration- boys. In Pooh's world each of al, but also affords adventures these characters are equal which result from the various members of the forest community scales. For example, Pooh gets and therefore have the same stuck in Rabbit's hole after size. Piglet and Roo are very he expands from eating too much small and childlike. But honey. Although Rabbit does unlike real children they are not enjoy having his front door always included in whatever is clogged, the pragmatic animal going on, and get into their is quick to acknowledge that own special adventures because Pooh's legs make a great towel of their diminutive stature. rack. Things are seldom what they seem in Pooh's forest. Just as the trees contain houses, a bear becomes a rain cloud, Each house is also a reflec- a pot becomes a raft, and tion of the character who a broken balloon becomes a lives there. Eeyore lives in wonderful playtoy. These are a gloomy place which is all familiar objects which, "rather boggy and sad" and when used in this world of has no physical definition; fantasy, take on new uses and The owl's house is reached by meanings. For instance, we climbing a grand tree-trunk always think of an umbrella as which magnifies the Owl's an object which shields us sense of importance; while from something. But in Pooh's the clever Rabbit lives in a world it also acts as a complicated warren with sev- container in which two or more eral ways in and out. can float away. (32. Pooh's forest is a wonderful place to play. As children, we love this world where a child plays the most important role, a Bear of Very Little Brain is the hero, and even the childlike characters are a -part of the world's events. It has many familiar elements which remind us of other places we know. Yet the Owl lived at The Chestnuts, an old-world residence charm, which was ele- of great grander than anybody scale of the different else's, or so it seemed to Bear, because it had ments and how they are used both a knocker and a bell-pull. provide play opportunities A. A. Milne 3 which no real forest on earth affords.

VV'~ The Children's Museum in Boston The museum retains the large, is part of the Museum Wharf strong image of a building type building, which also houses that is familiar to people of the Museum of Transportation. the area and uses a few careful It is a major attraction that additions to call out its new draws both adults and children use. An exposed glass elevator from the entire metropolitan encased in bright orange steel Boston area. It is located and a 40 foot-high, brightly across from the Financial painted, free standing milk District in the center of the bottle gain strength as fanci- city, along the Fort Point ful objects against the muted Channel. The approach to the background of the industrial building is an important part facade. These two objects of a visit there. Most people serve to date the contemporary come over one of the two rennovation and call out the bridges from the city where building's new function. They they get a long, full view of bring attention to themselves Museum Wharf. The building is by being incongruous with their the first of a neighborhood of surroundings, thus serving solid, massive, six-story their purpose as a way to alert structures that were origin- people of the building's new ally warehouses and now use and guide them towards the f support a variety of activities. entrance. The theme of the main facade is carried throughout the building. It is a strong, familiar base of support around which objects are placed that people can inter- act with. The building does not provide play in an active way. Rather it provides a comforting setting that allows children to feel at ease. The learning that goes on is fo- cused on individual exhibits, while the building provides a generous setting which does it works primarily as a circu- not compete for the childrens' lation path and not as a spa- attention. The building has tial focus. Large windows heavy wood beams, stairs, and look back out onto the city, moldings with grey, industrial providing reassuring, orient- metal railings. The museum is ing clues to visitors. The broken up into a series of building primarily serves as rooms, providing an orderly a supportive receptacle that procession through which the enhances but does not compete exhibits can capture uninter- with the activities inside. rupted attention. Even the central space is so small that

tT'd The re-use of the old wharf gives rise to wonderful dreams with the new objects deployed of what might have been. The throughout it provide oppor- new additions to the build- tunities for imaginative, ina's face seem to make the fantasy play for both child- difference between 'then' and ren and adults. The proces- 'now' even clearer, allowing sion from Boston proper leads us to relive an imagined past. to a world which is familiar The walk from Boston to the in form to most people, yet museum can be a fertile one not so familiar in its use. for fantasy as one leaves the What actually went on in city behind and heads out for those huge storage sheds and this familiar, yet redefined how it affected people's lives world.

A more direct, physical play is generated by the children's responses to specific exhibits in the building. Although al- most all the exhibits are interactive, some seem to afford more play than others. In general, the exhibits which are arranged in a traditional museum display format, such as the "Indians of New England" or the "Cultural Heritage of 16 Boston" have a more educational An exhibit which gives child- tone than those which recreate ren the opportunity to physi- a situation that the children cally understand their rela- can directly participate in, tionship with others is a such as the grocery store or simple arrangement of hand and "What if You Couldn't?". foot prints of various sizes. 5 Children spend some time find- Perhaps the most fascinating ing out exactly where they fit, exhibit in the museum is the though it is not uncommon to turtle pond. It is a trans- see a child standing in very parent aquarium that allows large footprints, apparently children to crawl underneath pondering what life might be it and view the turtle from like with such large, grown-up below. This new perspective feet. on the world enthralls both the children and adults who The giant's desk top is a crowd around the pool to anal- blotter with pencils, paper- yse the turtle from all direc- clips, a telephone, and other tions. Without touching it paraphenalia which is greatly they are able to manipulate enlarged in scale. Children the turtle by changing their can climb in and around these relationship to it. They are objects as they might climb on

in essence in the ground look- playground equipment. However, 0 ing up at it and can gain these are more interesting be- perspective on what 'in the cause of their common associ- qround' might be like. ations with everyday use. The '- times past. Museum visitors telephone is the most fre- to see how life was lived quently-used piece, perhaps love in those times and can feel because the push buttons are connected with them when they just the right size to be find domestic articles similar operated with your feet and to those we currently use. the base forms a wonderful The doll houses demonstrate little slide. Young children how rooms fit together in ways never tire of dancing out moving through a their telephone number. that simply real house does not reveal, and allow even the smallest child to dominate his sur- roundings. One little girl ran from house to house looking for tiny baby dolls in each one. She was en- thralled by their size, and was convinced that every mini- The doll houses provide ature world must have at least complete worlds in miniature one baby. which fascinate both adults and children. These houses One element of the museum are replicas of seventeenth itself that provides many and eighteenth century dwell- opportunities for play is the ings which are quite accurate main stairway and railing from in their detailed portrayal of the lobby to the exhibit areas.

V.J 0) The stairway offers many enclosing support provide a choices of how to ascend; one secure base which acts as a can move along the diagonal, counterpoint to the play in a dynamic, twisting body that the exhibits foster. It movement across the treads; is a stable reality from which down the middle, closely shel- children launch into other tered by the column; or along worlds, prompted by the the very outside, hanging onto objects around them. the rail for support. The rail itself has hand grasps at two levels. This was probably designed to allow people of many sizes to hold on to it, but also affords a wonderful, comfortable way to slide down.

The building which houses the Children's Museum is not in- herently playful. It is, rather, like a shopping mall that provides a framework suitable for the learning and play activities that occur within. The familiar mater- ials, even lighting levels, and strong presence of massive, urban area. Although the mus- eum has some regional users, it is primarily used by local inner city children.

While the approach to the mus- eum in Boston is a procession, the Brooklyn Children's Museum is suddenly encountered as one emerges from the street walls defined by the large town- houses in every direction. What one finds is a sort of everything and nothing at the same time. The site is a The Brooklyn Children's Museum large mound with an assortment wjww-ww uses a completely different of objects with little appar- set of architectural devices ent relationship which make a to create a participatory beguiling puzzle of a skyline. environment. The building is They are so odd, so incongru- located on a corner in a park ous with this neighborhood in the Crown Heights section that they demand exploration. of Brooklyn. The museum, a No one can pass by the Brook- -- zz~~ public school, and the park lyn Children's Museum without make up a city block that acts a second look. There is really as a void in the densely built not much there, a few large oil tanks, stadium bleachers, The subway kiosk marks the two huge highway signs, and an entrance to this other world, A CAREFULLY old subway kiosk serving as and thrusts a visitor down JUNK YARD GROWS IN the entrance. But the way into it in a descending, BROOKLYN these common objects are ar- spiraling People Tube. The ranged jolts our sensibilities about their proper place and Like most of HHPA's work, there is little that is use. They have been trans- conventional - but much that is ordinary - about the Brooklyn Children'sMuseum.4 formed to a new location where they serve a new function and help to create the feeling of another world through their bizarre arrangement.

To enter this world one must ascend a series of steps. But how to do it? They can be taken two at a time with 4" risers, in a normal pace, or stretched out in a broad, uneven curve. Reaching the entrance is not difficult, but cannot be done with an uncon- scious, unnoticed effort as I. some stairways allow. (3'/ manipulated by both the adults and children along it. There is a great sense of speed in the People Tube which is due to the swirling neon lights and the fact that one moves diagonnaly in all three dir- ections with relation to the building.

Where the Children's Museum in Boston is accomodating and supportive, the Brooklyn Children's Museum is challeng- ing and disorienting. The People Tube is a large galvan- building does not simply house ized steel sewer pipe with a the museum's collections, it helix of bright neon whirling is part of the collections and inside it. The tube is a long displays itself everywhere. ramp that moves diagonally The structural, mechanical, through the square building electrical, and fire suppres- and lands at a variety of sion systems are as prominent exhibit areas located at each as any artifacts or exhibits. level. Running parallel with The upright mechanical ducts the People Tube is a stream blowing air are every bit as which is dammed, directed, and fanciful as the totem pole 62 sculpture from another time an auditorium, and an old re- and place standing next to frigerator is turned into a them. The fact that the store counter. If not for the building is underground is nuisance of gravity, surely the keenly felt in the uneven, stream would run up the tube. artifically lit space. How- It is clear that the rules ever, at the end of the People outside don't apply here Tube the ground outside is cut because nothing is used the away and the building is way it is 'supposed' to be flooded with light. The para- used. dox of a building which is so light at the bottom yet so dark above is one of many throughout the museum.

The Brooklyn Children's Museum affords play for both adults and children in the way it shocks our sensibilities and makes us look at familiar ob- jects in a new light. The building truly feels like an- other world, one in which up is dark and down is light, the structure is a grid but little else is, an oil tank becomes Vh) For children, the museum is' An important aspect of play full of opportunities for for all the museum's visitors manipulative play. The every- is simply moving in new ways, day objects that fill the thereby discovering new com- museum are freely touched and ponents of your relationship explored. Children are en- with the surroundings. Besides couraged to find new uses for the People Tube, it is pos- them in this new world. The sible to go from level to space itself can also be level via hydraulic lifts, matched to their needs. Need- stairs, ladders, or even by less to say, the myriad direc- climbing through the gigantic tions colliding in the museum molecule model that crawls result in many unusual (unus- through the space. Unlike the able?) configurations. These Boston Children's Museum where can become the play-grounds all the circulation gets fair- for certain games and fantasy. ly even use, these movement Exhuberent, moving play goes patterns are clearly subor- on in the largest area at the dinate to the People Tube, but end of the People Tube, while provide opportunities to many small, leftover places understand the building and provide opportunity for indi- its contents in new ways. vidual fantasies, such as the tiny doll world which is tucked in under the People Tube. Perhaps the most interesting and playful paradox of the museum is that everywhere we find traces of ourselves, but never the way we expect. The materials of the building are all familiar, yet they're not put together in any way we normally see them. A small pond is found indoors, a We believe that the accidentalplaces are easier to shape to activities. People can in sane way gigantic sewer pipe is free- shape them themselves. 5 standing instead of buried, Malcolm Holtanan and a mechanical duct reminds one of a smiling, round face, offering itself as a high shelf where some exotic arti- fact can perch. After creating an important entry sequence that says 'this is another world, feel free to question', the building plays with us directly by bringing into question how its pieces are arranged. The Boston Children's Museum It shares a quality with those special childhood is nowhere as exhilerating as places that compels you into it to look around its Brooklyn counterpart. It and to investigate until your curiosity is exhausted. 6 provides a broader, though less extreme, spectrum of play opportunities. The Brooklyn Children's Museum provides a The Brooklyn Children's Museum much more intense, engrossing affords play which is very play experience at the expense active and energetic. The of affording much quiet, museum's program was inter- thoughtful play. The differ- ested in providing fresh, ent types of play which the exciting stimulation for its two facilities afford stem users and the building from the different programma- certainly fills that need. tic requirements of each mus- However, it does so at the eum. The Brooklyn, Children's expense o-f having any real Museum is smaller and desired NON-STOP calm, controlled spaces where a highly stimulating building STIMULAT ION the children can become to attract its inner city totally engrossed in one thing clientele. The Boston Child- or which acts as a reality ren's Museum has both more base for the antics in the room and a wider social range building. There is virtually of users, thus warranting a no place appropriate for con- broader range of play oppor- templation or reverie. tunities.

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JACK'S bar in Cambridge is Like many such bars, the phys- representative of many music ical form of the place seems bars in the area which cater quite neutral at first glance. to 20-35 year old affluent But on closer observation adults. The success of the it has been adapted to meet place can only be measured by some special requirements as the huge crowds that congre- an adult play place. First, gate there on the weekends. JACK'S is in a prime location, The drawing cards seem to be right on Massachusetts Avenue the music, the drinks, and the where it is a highly visible fact that you will see other component of a series of en- people you know. The crowd tertainment places. JACK'S itself is a critical component occupies three bays of a small of its success. JACK'S is not one-story commercial strip so appealing when it is empty. with a large glass front.

6"V() Since the location is so Inside, JACK'S has a major public, JACK'S needs some way focus, the stage, and a minor to create that 'other world' focus, the bar. The players quality of play. However, take up the space in between there is not so much as a so they can move from one to to the other, if there is room. I LIKE TO change in grade separate STAY NEAR THE BAR it from the street, so the Small, low tables surround the (BURP) windows are full of huge stage, with higher stools, a plants which block the view few columns, and an area of and the tables inside are standing room ringing the all directed inwards towards edges, thereby creating a the stage and not onto the street. At the critical point of entry, there is almost no transition from outside to inside, but the omnipotent bouncer serves as the viligent sentry who marks the differ- ence between the public world of the street from the world of the players within.

Ii I I I G9 slight rise in section which sets the tone of a very high- encircles the performers. stimulus environment which is The only people who do not augmented by the people, who face the stage are the minor- dress flashy and talk loudly. ity who directly address the The flat black walls and ceil- bar. ing only serve as a backdrop for the stimulus. They dimin- JACK'S is a totally conscious, ish the sense of space and singular play environment. heighten the feeling of When someone decides to go to crowding. The homogeneity JACK'S, they are choosing a of the players creates a sense particular kind of experience. of comradery among them that Although there is a variety of allows them to thrive in this places to sit or stand, the crowded setting. They enjoy music is so dominant that your a group identity which is location within the space missing in the anonymous hardly matters. The music crowds of a city street or a subway station.

II

I H () 2 ~H X; ~1~1 ~ I 1J - Er-I - ltj *\ hfl 1 I III ~I\.iii h:L .1 olTI-11( t 70' The Nameless Coffee House is The Nameless is in an English a place where local folk mus- Gothic, stone addition to an icians play in a church hall older, clapboard church. The near Harvard Square. A series entrance is along a side of performers put on twenty to street and up a few steps, in thirty minute sets throughout a covered area beneath a small the evening. The audience is pointed archway. The door primarily young adults, many leads into a compact vestibule of whom are students or peo- which gives way to a generous ple involved in skilled or foyer. Usually one or two craft labor. They are quite people sit in the vestibule different from the people who and greet people as they enter frequent JACK'S, and seek the realm of the coffee house. relief from the noisy, bright city streets in the Nameless. A COFFEE HOUSE Since there is no charge, the BY ANY OTHER NAME of WOULD NOT BE audience is composed both NAMELESS people who want to listen the music and closely to THAT'S others who drop in for short periods of time. 7/I Inside, a large room with a doors lead from the foyer into high ceiling is the perfor- the performance space so that mance area. The stage is at one can choose which area to the far end, adjacent to sit in. In addition, the a warm-up space. A large foyer itself is large enough portal runs across the middle for several people to gather of the room, thus framing the and tentatively hear the music performers and visually divid- before going inside. The ing the room into an area near sequence of spaces from the the stage, where people listen street to the stage provide intently, and one further away a steady transition from the where it is possible to speak world of the street to that softly to others while the of the coffee house. They music is performed. Two also give people the choice

72 of many ways of listening to the music. Each person can select a location based upon how closely he wishes to concentrate on the music.

The Nameless Coffee House is a quiet, almost serene en- vironment. The walls have a high, rich mahogany wain- scot, the tables have small candles, and the chairs are casual campstools. The sur- faces of the wood are highly polished after years of wear and are pleasant to the touch. Unlike JACK'S, which is a high-stimulus environment that challenges the senses, Name- less is warm and comfortable like an easy chair. The music is usually soft and melodic; itcomplements the contempla- tive atmosphere and can act as the source for individual daydreams and reverie. 15F~ T H IE I-,H A aC V R 1 @@/ETY

Their motto is 'vanitas' and out the magazine and some their mission is to poke fun spaces for private use by the at whatever strikes their society, which no other Har- fancy. The Harvard Lampoon vard undergraduates may see. Society is an undergraduate The building is a sort of organization at Harvard which confection full of witty publishes the Harvard Lampoon elements and anecdotes that magazine and acts as a social cater to the private, intel- focus for its forty members. lectual humor of its elite Their headquarters is a small users. It reminds one of building on a tiny site near many things, but is accurate Harvard Square which was to no particular style. It EM F21ir i completed in 1909. It is is based on its own set of known as 'the Castle.' principles which are the phys- It contains a series of public ical manifestation of Lampoon's rooms where the members put humor in bricks and mortar, 1'Tl as well as an allusion to a building is a collection of romantic, medieval past when serious academic forms which the jester could divert the become swollen and distorted

of the king. on the small building. The A LAMPY'S HOME attentions IS HIS CASTLE building sits at a strategic The building itself is located urban location and has an air on Mount Auburn Street, of importance which matches along an area which has com- its pompous surroundings. The mercial uses along the side- lofty gables of neighboring walk with Harvard dormitories Adams Hall are mimicked on above. At the intersection of Bow Street and Mount Auburn, the massive six story build- ings form a small square. "The jewel of this architec- tural setting is the frivolous Lampoon Building which appears almost miniature in contrast to its neighbors." 8

The building's exterior not only speaks of its purpose as a center of whimsey, but also of Lampoon's relationship to Harvard University, a frequent object of Lampy's fun. The the roof of the Castle. The hallowed bell tower becomes a jester's face on the main en- trance. From the distance one sees a delicate tropical ibis which is precariously rest- ing on a small dome that fits over the jester's face like a freshman beanie. Small, dia- mond shaped eyes with round windows peer up Mount Auburn Street. The brightly painted door is a mouth with the blue and yellow colors of the Lam- poom surrounding a circle of Harvard Crimson. The elabor- ate lantern above the entrance forms a kind of hooked nose snarling at pass- ersby. This incredible face is set off from the street by of a grand set of granite steps which spill out into the square, as if the Lampoon was sticking its tongue out at Harvard. The building's who have named parts of the exterior humor is well matched building accordingly. For to the academicians who in- example, the small window be- habit Harvard's ivy walls and tween the two chimneys at the the students who frequent rear is known as the Sphinx's Harvard Square. Apparently, Sphincter. 9 however, the humor was lost or misconstrued by the City of Cambridge which seized the opportunity to plant a tree right at the tip of the Castle's tongue.

The building also appears Sphinx-like. The two walls extending forward around the stairs are like feet, while the rest of the building rises on its haunches behind the hel- meted tower. The roof actually slopes gradually from east to west to enhance this effect. The idea of the Castle being a Sphinx is a long standing trad- ition among Lampoon editors, Whatever fantasies about the inside one may have are more than fulfilled once within. Because of the secret nature of some areas, the Lampoon The anthropomorphic quality of does not allow any sketches the exterior is part of the or photographs of the Castle's building's wit. The dignified interiors. However, they do forms of Harvard have a diff- give wonderful tours of the erent meaning when they com- entire building if requested, pose a face or an animal'.s and allow written descriptions body. The small windows, as long as they are not dir- intricate gables, and inlaid ected towards other Harvard ornament of the building's students. facade make it a rich source of fantasy. Since it is not The small entrance on Bow true to any one stylistic Street which leads into the period, we can find traces of public areas is more fre- many imagined pasts in the quently used than the main exterior. The windows are all door to the Castle. A steep placed above eye level to iso- step directly from the side- late the internal functions walk catapults a visitor from of the building and to induce the red brick world of Harvard the pedestrian to wonder what into a small vestibule covered goes on in this whimsical with cool, light blue Delft little place. tile. The dimensions of the room, like everything else in create a completely sheltered the building, are small and environment. The spaces intimate. The rooms are clut- formed between the inside and tered with an incredible outside walls create shelves assortment of furnishings and of every height and depth as ornament from all over the well as deep sills below the world, as well as a large col- small windows. Beyond the lection of Lampoon covers on Womb is the Sanctum, which is the walls. The ground floor, the recreation of a well-to- which has primarily public do Dutch fisherman's living spaces used to produce the room, full of delicate tile magazine, has a strong Dutch and massive oaken furnishings. influence. The floors are This room is farthest from the unglazed terra cotta set in entry and is quite removed various patterns and the ceil- psychically from the world ing is dark, heavy timber. of Cambridge directly outside. The walls are lined with fan- tastic Delft tiles which If one goes the other direc- on SORRY KIDS, portray scenes of myth and tion from the entrance NO VISUALS- USE YOUR glory. The library, or Womb, Bow Street and through a IMAG INArTION is a circular room buried in small locked door, one enters the building. There is no the tower. It is all white trace of its form on the out- with streaks of light coming side. Its doors are book- in from its many small, 79 cases which, when closed, stained glass openings. It's ------

The Great Hall is the focus of the Lampy's secret life. The Hall is certainly one of Boston's most original banquet rooms. One wonders if Wheelwrightcould It is a sixty-foot long med- have imagined the pandemonium of some of the initiation ieval dining hall with carved dinners it has housed. Recalling his own under- graduate years, he was sufficientlyaware of the heavy timber trusses spanning possibilitiesto limit the windows in the main body to dormers which sit high above the tabletops. between the Castle's gables. This prevents flying glasses from injuring At the far end is a massive passersby,and as in the elevatedwindows of the first floor, they are an importantpart of the Elizabethan mantlepiece of Castle's defenses. Most of the glasses seem to oak with richly painted lime- have ended up in the fireplace. stone carvings. The room is Martin Kaplan 10 lit by candles hung in cande- labras in the thape of gar- goyles and other mythical animals. It is full of bits of antiquity: medieval tapes- a dynamic space that swirls tries, a suit -of Japanese around a central core which armor, a Dutch musical clock, is full of niches for special and a huge chair upon which objects. The tower climbs up all the former President's until reaching the Ibis' nest, names are inscribed. It is a a small room which seems much world of secrecy and gallantry higher than the Castle appears where the real and the absurd from outside. The nest forms meet in a timeless collection a perch overlooking Mount of memorabilia. It is both Auburn Street and a balcony a spiritual place and a comi- overlooking the Great Hall. cal, humorous place where the treasures of our civilization are put to the service of folly.

The members of the Lampoon do to find humor in social con- not mind a written description ventions and institutions of their secret areas because, should not have to be rele- as these literary pranksters gated to the province of well know, it cannot be secret societies. Wherever adequately described in words. there are strong institutional It is not simply a world of influences in the environment, play where reality is sus- the potential for humorous pended and new rules apply. parody of them exists. It is a world where the most serious aspects of our society, such as the nobility of chi- valry or the virtue of educa- become the butt of an tion, The Great HalZ is sited within 100 of the east-west endless joke. In 1910, the axis. Twice a year, within two days of the soltices, editors of Architecture maga- sunlight comes through one of the eyes, travels the length of the Great Hall, and illuminates zine noted that "It seems the face of the angel in the center of the This is known as the 'sinusof unlikely that any of these mantelpiece. the soltice.' rooms could be properly used anywhere else than in a build- ing of the character of this..." 11 Yet, the ability 91 Las Vegas is a place of excess; Las Vegas exists in an area a curious, fascinating phen- where space is measured and omenon. The play that goes conceived differently than in on there is very different most cities and towns. It is from the quiet mimicking of hundreds of miles from any- the Lampoon Building. While where, in the midst of a Lampy's humor is cerebral and dramatic, expansive desert. exclusive, Las Vegas holds out It is a sort of oasis, a the magical lure of omnipotence clearly identifiable place, for thousands of visitors in yet a kind of illusion where the form of gambling; a form normal sensibilities and soc- of play that could be consid- ial conventions are shattered. ered anti-intellectual or People feel freer to act in even primal. Las Vegas teases unusual, spontaneous ways in us all into believing that we this world which is so clearly might beat the dealer, and it separated from everyday life. uses a series of architectural and planning devices to rein- force that illusion. The scale of Las Vegas is Las Vegas is an architectureof bold communication derived from the automobile rather than subtle expression. The signs and buildingstake their shape from each other in order and the vast desert rather to present the biggest possible impact on the than the person. The elements motorist, thus gaining his attention. .12 of the wide roadway flanked Robert Venturi, by immense parking lots, the tremendous signs perpendicular to the driver in order to make the greatest impact, and the huge casinos looming in the giant signs are full of glit- distance are similar to most tering, inviting, and familiar commercial strips, only images which are larger than greatly exaggerated. These life. Since the message of elements make little sense to these images is one of offer- a pedestrian or in a photo- ing pleasure to the visitor, graph, but create a dynamic the incredible size of these sense of flowing light to a signs makes them intriguing person in a moving car. The rather than intimidating.

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ojC) ~ The architectural form of Las larger-than-life scale, and Vegas, like its spatial quality, that wide expanse of blacktop its furnishings, and even its known as "The Strip". Each use of chips as currency, is building is a stage set where designed to enhance and rein- the employees act as the sup- force an altered reality in porting cast to every visi- this oasis paradise. Each tor's starring role. The casino and hotel alludes to. hotels and casinos are full of another time or place. A sweeping surfaces as opposed visitor can be transformed into to straight walls, mirrors, a centurian at Ceasar's Palace, and level changes which rein- a ranger at the Frontier, or a force the importance of the playboy at the Riviera. In visitor in. the environment. fact, Las Vegas is actually For example, a grand staircase just a collection of fantas- may lead nowhere, but people tic allusions tied together by will climb it, pause, and the common threads of gambling survey their surroundings from> and the heightened expecta- a commanding position. Simi- tions which result from the larly, it is common to enter a dining room on a podium a few feet above the dining floor. This platform is in 41 I' essence a stage, where each patron makes his appearance I U- .R- before taking a seat. 4 This is a play. These people are here and they think they'regoing to have a grand vacation. They want to feel like millionaires. They want to feel that this is just one of the greatest experiences in life. So I put them on stage at all points. Morris Lapidus 13

The heightened sensations of the strip and casinos are offset by the domestic scaled motel rooms and their court- yards. These courtyards are typically full of lush greenery, water, and intimate- ly scaled balconies and ter- races which provide a necessary counterpoint to the super- - _ scaled elements of the strip and the hot, arid desert beyond. Without such human scale references, the excesses of this isolated world could become overpowering and lose their sense of 'only pretend- ing.' Yet a few feet away, the gamb- ling rooms are always dark. They are large, low spaces The gambler very quickly, usually as soon as he begins to contemplate making his first wager, without windows. Each gamb- a world, a transports his self into play ling room is articulated into fantasy world in which he stays suspended until he is jarred back into-reality by the finish a series of subspaces around a- disappearanceof his money. of the last race or the gaming table where people can Joseph Levy 14 have a feeling of privacy, protection, concentration, and control while they pursue that exhilerating, unpredictable Perhaps the stongest way Las activity. This intricate Vegas creates a new reality maze never connects to outside is through the juxtaposition light or space. The dark, of day and night, thus creat- absorbant wall and ceiling ing a suspension of time as surfaces are obscured by we usually know it. The artificial lighting which - brightly lit strip and down- tends to make the interior town casinos provide the glare space limitless. The glow- and heat of midday at any time ing jukeboxes and gambling The streets are just as busy machines become the objects at 3:00 a.m. as 3:00 p.m., and of this interior world where the activities people pursue space and time have no are the same at either time. boundaries.' Las Vegas is a world where excess is the norm. The architectural devices used to help create this world may in themselves be excessive if applied to a place which is less isolated or less intense. Yet the physical environment of Las Vegas - the spontaneity, the heightened expectations, the exaggerated scale, and the theatrical quality - seems to reinforce the sense of trying to escape reality that perme- ates the place and the activi- The world's largestresort hotel will soon have ties that draw people there. a new look to match its reputationfor fun and fast action. Continuousvaried animated light These qualities which afford patterns conveying sensations such as speed, play in Las Vegas may be ap- surprise, and even humor will flash across a new a quarter mile long. plied in modified ways to less front nearly excessive environments. Stardust Motel Brochure 6) X Great Adventure is a theme in the United States, 16 which amusement park located midway indicates that they are a very between New York City and popular way for many Americans Philadelphia in a rural area to spend their free time. The of New Jersey. It is a con- architectural elements and scious play area that caters spatial arrangement of these to families who usually spend parks are carefully designed an entire day on the park to enhance their play-ground grounds. Great Adventure is quality. It is interesting, representative of a series of therefore, to investigate such parks which have been Great Adventure in terms of patterned after Disneyland. the definition of play In 1979, 75 million people developed here. visited the 24 largest parks Historically, amusement parks Theme parks are less intense were bright, noisy, dense environments oriented towards environments where people middle-class families, but the could release tensions and lessons of Coney Island's experience the joys of vertigo architecture have been trans- on a series of rides that con- lated in the move from the fronted the player with the city to the suburbs. illusion of danger. They also provided bustling 'Main Street (Coney Island's) gilded symbols are enough to action on the midway as well transport us to a land where anything is as places for quieter, more pleasantlypossible, but, because they are all old friends. we do not feel like strangersthere.2 intimate play in the tunnels of love. The common theme of these places was movement, whether it be the slow auad- Great Adventure offers similar rille of the carousel or the thrills of disequilibrium in a violent rush of the roller setting that is clean, pas- coaster. In keeping with this toral, and peaceful. The motif of movement, parks such fantasies portrayed are not as Coney Island developed abstracted swirling movement, elaborate forms of "music- but places that we know, made hall Baroque" 17 architecture perfect. The tunnel of love that complemented the rides has given way to the log flume with whirling ornament that ride which is more hearty and spoke of an unspecified, offers no opportunity for il- exotic land of another time. licit interludes. The midway -, -4z --_ , , - - - _- .- . -1

Disney World is nearer to,what people really providing a constant, if have ever given them... want than anything architects sometimes incongruous, It is a symbolic American utopia. backdrop. Robert Venturi. .19

There are a number of devices is transformed into America used throughout Great Adventure 'as it should be' on Main which enhance its qualities as Street, a broad boulevard a play-ground. The most fre- lined with neat little build- quently used device is scale ings, flowers, and congenial juxtaposition. Disneyland people. Here visitors can pioneered the use of miniatur- relax and enjoy a public ization by building whole areas envrironment which is probably of the park at 5/8 actual richer than the one near their scale. The scale change is homes. Other fantasies branch intended to create a kiddie- off from this street: an Ock- land for adults as well as toberfest of Old Germany, the making spaces more accessible Wild West with the world's to children. 20 Of course, in largest Teepee, a foray into the process some of the oppor- the tropics, or the confec- tunities for play through tions of the ,Yum-Yum palace, miniaturization, as previously a sixty-foot high ice cream discussed, can be realized. extravaganza. Each of these Great Adventure utilizes both worlds is carefully arranged in miniaturization and enlargement spacious, clean settings, with to the point that not one the soft pines of New Jersey building is what would be considered normal scale. On These streets are lined with Main Street the buildings are banners and shops which small scale, but in the Wild heighten the expectation of West they are gigantic. The the traditional attractions, area is truly 'larger-than- such as the ferris wheel and life' with its mamouth Teepee, the merry-go-round, which they Conastoga Wagon, and restaur- frame. In addition, an intri- ant whose generous roof is cate series of rambling garden made out of plastic logs two paths weave among the other to three feet in diameter. attractions. There are no But the forms of this area are dead ends, so each attraction the familiar ones of western can be reached by at least movies, and the rides take us two paths. Trees and other up and over these towering objects are arranged in a forms, so their size is not casual disorder along the way threatening at all. so that thrill rides and at- tractions suddenly appear Another device is the use of multiple pathways through the park. Two major boulevards are organized as formal pro- menades which connect impor- tant attractions and intersect at the fountain on Main Street. around bends. The two net- works serve complimentary functions: the boulevards are orienting places, where one can be an integral part of the passing parade while the garden paths allow for mean- dering, aimless strolling Of course, Great Adventure within the park. has a full assortment of rides, shops, and eateries The building materials used throughout. The thrill rides at Great Adventure are all are quite breathtaking, and chosen to reinforce the image are usually accompanied by of a particular area. The much bravado among the riders. central plazas and areas which They turn people upside down, recall times past are made of get them wet, and spin them painted clapboard with brick furiously. They have an

LOO NA or stone. They are substan- illusion of great danger which tial and familiar. Indus- is taken to its extreme in the trialized materials are only Adventure Theatre, where peo- used in 'futuristic' areas, ple stand still and a 1800 where steel and tensile struc- movie screen presents images tures are used to diminish the of flight or speed that can perception of support. cause dizziness. 92 The theme rides are more inte- grated into the particular setting of each fantasy world. Such rides as the Wild West Runaway Mine Train are gener- ally not as violent as thrill rides. They are more popular with adults who apparently enjoy the explicit escapism and gentler contortions. Children's rides are small- Great Adventure, like most scaled versions of real world theme parks, is a place where situations where they can feel people go to be entertained. in control. The planes, boats, Most of the experiences are and cars which the children passive, with the player operate are full of wheels and seated in some type of moving buttons that they constantly vehicle in a carefully de- twirl and push, as if to deter- fined fantasy world. The mine the vehicle's course. abstract swirling forms of Children tend to shy away from Coney Island have given way to overly specific or inanimate complete replicas of places objects such as the 'picture which are real or imagined by spots' in favor of moving someone else. So the ability attractions and places where to create another world is there are other children. Some lost; the player merely se- rides might be virtually empty lects from the range of dis- while children line up at crete fantasies available. other similar attractions; apparently the crowd alone makes them more interesting. A journey to Great Adventure or any similar park is a programmed experience, as people synchronize their playing with a schedule of shows and events. The result is an environment that is powerful in its initial image, but on return visits one real- izes that the same things occur again and again. The player is not really choosing or guiding the course of Great Adventure does not events in any significant way. challenge people to think Instead he is a passanger on about or react to their envir- a ride which travels a pre- onment in any new ways. determined course. There is Instead it provides comfort- little of the spontaneity, able, prescribed fantasies surprise, or even real danger which pass by but require that can be found in old- limited interaction or sus- fashioned amusement parks. tained interest. From the street, the Hyatt in The Hyatt Regency Hotel in Atlanta is an undistinguished, Atlanta is the first of a ser- three story mass which con- ies of hotels recently built tains ancillary functions and which use large, indoor public serves as a podium for the atriums both as ordering de- hotel tower. One enters into vices and as a way of creating a low, plain vestibule, architectural excitement. through a set of doors, then These hotels serve both as a goes fifteen feet further place for overnight visitors under a low ceiling. Suddenly and as an entertainment cen- the space leaps up to its full ter for the metropolitan 22 story height. In later populations where they are hotels, architects have tried located. They are generally to develop a transition be- very successful, which makes tween the entry and the atrium, them interesting places to but in fact the immediate study in terms of affording juxtaposition of the two play. And all of them, in spaces is exhilerating. It some part, derive their arch- helps to set the atrium apart itectural conception from the as a place of its own, a original hotel designed by vertical world in the midst John Portman. of horizontal floors. People can't walk into a Portman building and remain oblivious to their surroundings. They look up, startledby the largeand unusual spaces; they explore; they try out differentexperiences The interior atrium is the that the building offers. heart of the Hyatt. All the Jonathan Barnett 21 hotel rooms and functional areas are related by this incredible space. It is 120 feet square in plan and sur- rounded by 22 floors of bal- The elvators are the focal conies. For many visitors, point of the atrium. The egg- the three million cubic foot shaped glass cabs are lit by space is the largest interior rows of tiny bulbs that pro- space they have ever seen. vide an ordered but unexpected But it's not merely the size pattern of movement from the which attracts visitors; the main floor. Riding inside the atrium is full of lights, elevator is like sitting in a sounds, and movement. The theater which has a continu- core of most tall buildings is ously moving vantage point of full of service functions, but the stage beyond. The ele- here is has been exploded and vators have become an integral, its elements depicting move- dynamic part of experiencing ment, the vertical elevators the atrium and they allow and the horizontal balconies, the riders to gain new per- have been exposed. spective on this giant space. 97 From the main floor, the ele- The balconies which ring the vators are the stage attrac- atrium provide a serene back- tion and their riders become drop to the activity of the actors. The lobby functions elevators and the main floor. are carefully, though infor- The balconies function as mally, arranged around this corridors, but also provide stage to provide optimal views of the atrium. Along views of the elevators' move- the balconies, small, trellis- ment. The lobby also contains covered areas protrude into cafes, cocktail lounges, foun- the space. The trellis' are tains, and sculptures. only seven feet above the Actually it has all the ele- balcony. They provide a sense ments of a town square brought of shelter from which to view inside. Thus the atrium has the atrium. The grandeur of

TURN UPWARD both the sense of an interior the big space is magnified by room and of a civic space. the intimate, smaller space. This duality gives the space an exhilerating kind of tension. The volume of the atrium, the moving elevators, and rings of balconies create a space that demands some immediate reaction by those who enter it. Whether one feels comfortable in it or not, it is quite an incredible space. However, it is inter- esting that after exploding the inside of the building the space which remains and the elevators, rather than the peo- ple in it, become the focal points. For many it is a wonderful place; they love to sip coffee in a cafe in the middle of it all, ride up and down in the splashy elevators, and peer out from the balconies. It can be exhilerating for people on vacation or out on the town who are 'up to' the energy of the atrium. However, there are also tired business people and couples who might rather not be seen climbing up

94L q-9 - to a hotel room together who worlds like Las Vegas and also use the hotel. These Great Adventure, and the people may not be so comfort- cognescenti of the architec- 2 3 able in the large, exposed area. tural world. The atrium is The lively contrast between a theatrical place which the atrium and ancillary heightens the visitor's expec- spaces is part of the Hyatt's tations and creates a place magic, but the price of that where one is seen and can be juxtaposition is that no seen. However, this is not place exists for people who accomplished by relying on may not wish to play the exotic forms and ornament to public, theatrical game produce the effect. The great which the elevators and the space, bold geometric forms, atrium are engaged in. and movement which is inte- grated into the building and excite- You can incorporatekinetics in a building create an interest and strike a responsivehuman reaction. ment in experiencing the

John Portman building; a sense of play. The play is not added onto the building's functional The Hyatt Hotel bridges the parts, but comes from organ- gap between the so-called izing the building elements to "popular" architects, such as exploit opportunities where Morris Lapidus, who design play can occur. 100 I

No-

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In Harvard Square, the alley either of the streets it between the Brattle Theater connects. At one end one and the Cambridge Center for must enter under a sign that Adult Education acts as a ped- frames the path,. and at the estrian passage between Brat- other the path takes an abrupt tle Street and Mifflin Place change in direction and width. as well as the entrance to the These two conditions set the Cafe Algiers. The alley var- path aside as a special, ies in width from 4' to 16', clearly defined place. which is much smaller than

'Q'I The alley is delightful to which make it a stimulating walk through. The sides of place to be. The high walls the neighboring buildings are are offset by the tiny benches quite tall in the narrow space, and tables, the small green- yet their clapboard sides give house window, the delicate them a sense of scale inkeep- trellis, and the finely de- ing with the pathway. The tailed windows of the Cam- Cafe is located beneath the bridge Center. The person theater, with a tiny set of becomes the scalar element steps leading down to it. between these small detail Small benches and little 16" elements and the vertical round tables are scattered planes. The path's surface is throughout the alley, some concrete with brick paving of which are clearly associ- along the borfders and some ated with the Cafe, but others dirt patches where small can be used by the general plants grow. The brick also public. The alley is per- forms the base of the alley ceived as a place in itself, walls, with wood above. There and its dual functions of are a range of materials to passage and outdoor cafe touch while sitting or walk- coexist happily, each giv- ing - the vines of the trellis, ing validity to the other. the smooth wood tables, the coarse brick foundation walls, The alley is rich in scalar the cool earth in the planters, and material juxtapositions, and the protruding sills of the windows. 102 the simple act of walking The Brattle Theater Alley is becomes dynamic due to the rich in fantasy play oppor- adjacencies of many levels of tunities. When we leave the activities, materials, and bustle of Harvard Square for scales in the confined space. the intimacy of the alley, our minds also seem to shift their focus. We become keenly aware of our movements in this narrow alley as our feet encounter different surfaces, are deflected by a change in the path, and rise over a small dirt mound; an urban rocky path that reminds us of other places, other paths. We feel central to the alley's organization when we realize that the theater gables tower above us while the greenhouse window signifies activity be- low. The scale of the street furniture and the warm mater- ials give us a new perspective on our surroundings and invite our interaction. In the alley, 105 Boston's Government Center is organized around a huge plaza which is flanked by long, six to ten story buildings on three sides. The fourth side is claimed by the massive City Hall which directly ad- dresses the large open space. Two thin, 35 story towers mark opposite corners of the plaza and denote the limits of Gov- ernment Center. The scale of the entire complex is certain- ly monumental and sometimes appears vast and inhibiting. Xt IT'S A DAVID AMONG GOLIlATHS

Along the most heavily traf- The subway kiosk is humorous ficked portion bf the plaza in its dead pan seriousness. there is a rather unassuming, It tries to wear the same som- but delightfully scaled little ber face as its giant neigh- building - the subway kiosk bors and pay due homage to leading to Government Center City Hall. But in fact, it Station. The formal qualities of the kiosk are in keeping with the austerity of the rest of Government Center. It is a refined geometrical shape with a finely detailed brick skin which grows out of the sur- rounding plaza. Yet the kiosk is full of play because of its incongruous relationship with the rest of Government Center and the fact that it provides opportunities for active play for both children and adults. 10J is a bump in the landscape The playfulness of the kiosk which brings attention to is also physically reinforced itself because of its central by its scale, which is more location, its important intimate and accessible than public function, and the fact its monumental neighbors. The that it grows out of the vast base of the building spreads plaza. Every other building out into a series of levels defines the limits of the which one can sit on. It is plaza, but the kiosk is a actually difficult to know central event of the plaza. where the plaza ends and the The kiosk was clearly designed building begins. Above this to blend into the surrounding base is an extended platform bricks, which adds to its that allows one to see over incongruous nature. It is people's heads and realize the actually a useful little long vista from the kiosk to building, and the fact that the Old North Church which is the plaza masonry wraps framed by City Hall and the around it gives it a sense of Kennedy Building. The actual shelter in the large space. walls of the kiosk are sloped The way the masonry envelops 600. During the spring and the building conjures up summer, many business people images of entering a cave as loosen their modest clothing one enters the subway, and and spread out on the station clearly marks the kiosk as walls to capture the sun's a special place in the vast rays during lunch hour. field of bricks. The Government Center Subway Kiosk is an interesting and playful building in its own right mainly because of its context. Its quiet sobriety is humorous because it is e cmimicking the surrounding buildings. This deadly ser- iousness is then destroyed by the fact that it is full of opportunities for people to use the building's surface as an active play place.

These sloped walls also afford 7 easy climbing onto the kiosk roof, where children often go to have a commanding view of the entire plaza. Huge copper gutters set into the walls provide opportunities for children to slide or roll things down them. The Suffolk County Courthouse half-moon shaped plaza com- is an example of how the pletely enclosed by large richly articulated facades buildings that primarily and processional spaces of address other directions. The nineteenth century public result is that this elaborate architecture can afford rich Empire Style building is left fantasy play. The Courthouse in the backwaters of the urban was designed to be the com- fabric and its original monu- manding focus of Pemberton mental intentions seem humorous Square in downtown Boston. and surprising in its new con- However, when Government Center text. This incongruous situa- was built in the 1960's, the tion affords a playful sense City Hall claimed more promin- of discovery when happening ence than the Courthouse, and upon this gem. Pemberton Square shrunk to a

/Ig pt C-D MA) At either end are the wonder- ful little balconies which protrude to bring the building to a close. These aren't the grand, formal balconies where generals survey their troops; rather they are roman- tic spots where a gentleman might serenade his lady or two lovers might escape to during a ball. As one enters the archway at One Center Plaza and ascends the steps, the entrance to the Courthouse slowly emerges. First the small pediment appears, then the ornate clock, and finally, at the top of the stairs, the large, inviting entrance arch reveals itself. The building oil spreads across the small plaza. It cannot be perceived in one glance, but as a col- lection of events which form the wall of the square. Moving towards the entry, the flat wall is articulated as a wall is richly articulated by series of pilasters of differ- five vertical bays and six ing scales. These imply a rows of windows. Each row is spatial depth and further add different, from the small ones to the rich palette of the which peak out from under the wall plane. heavy foundation to the grace- ful arches of the main floor, The same type of imageability to the tiny dormers popping exists in the central entrance. out of the mansard roof. The grand arch invites us in Each window is identifiable under a formal balcony with and elicits images of what large columns. The clock activities might go on behind marks a central point in the it. The different forms and facade vertically as well as corresponding placement of signalling the transition from these windows afford recol- wall to roof. However, above lections of places we have the entrance, the wall con- known which had similar tinues upwards, separating from qualities. The wall is also the mansard roof on either side. full of superadjacencies, such It is crowned by a pediment as can be found in Mannerist which clearly marks the ent- or Baroque facades, where the rance in the roof line.

I LIKE TO PERCH ON A QUOIN I'I() The transition sequence from outside to inside has extra- ordinary processional qualities. However, the wall plane of the Starting from the light of day, main facade is not simply a one enters the dark, enclosed place where a variety of archway. This protected space openings occur. It also reads leads to a perfectly square as an entity of its own which foyer bounded by four arched never loses its sense of being walls and a small domed ceiling. a large shell or hulk despite A large staircase in the middle the punctures in it. Like the of the foyer leads up to the entire building, it is anthro- main level. The dynamic move- pomorphically centered around ment of the stair creates a its two flanks, top, and counterpoint to the static bottom. The quality of this volume it rests in. At the top wall is not some minimal separ- of the stair, one crosses a ation, such as a curtain wall, large hallway running parallel but is a generous skin that to the facade, which reempha- has ample strength to accomo- sizes the importance of that date the fantasies where we direction, before entering inhabit it. the Courthouse's central space. it The central space is the place The Suffolk County Courthouse to see people and to be seen was not designed specifically inside the building. The to be a play-place. Yet, it large area is bordered by affords a variety of types of balconies and open archways play. Its location in the city that connect the upper floors sets it apart as a special of the building with the main place, its animated facade level. A grand stairway leads allows us to fantasize by up to the building's second envisioning inhabitation in entry on Ashburton Place. each of its richly articulated A series of arches along two elements, and the entry se- sides support the second floor quence allows us to experience balconies and are in turn a wide range of spatial condi- supported by mythological tions en route to the main statuary which add a sense space, where we become the of inhabitation to the space central figures of the building. even when few people are about. The main floor is illuminated by a row of lights from these balconies, while the upper walls are dark. This allows the beautiful gold leaf ceiling to appear as a glit- tering night sky from the floor below. 112 113 A -,-r1 ATT

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0 0 ...... 1 00 Q& V0Q,''N The observations illustrate The parameters were developed environments that in some way by seeking out the common CHATh1X afford play. Some of them are elements that afford play in conscious play places that each of the observations. FOLMK cater to certain populations Although a full spectrum of and offer a particular kind of design principles are used in experience. Others are places creating play places, the par- used by a wide variety of peo- ameters stress those design ple and seem to evoke a broader elements which are most unique response to play. From these to worlds of play. Their Ti~/4 observations and an understand- purpose is to aid designers >3~ ing of the basic characteris- interested in fostering play tics of play behavior, it is in places we use everyday. possible to discern what envir- These parameters do not con- onmental qualities make a good stitute a design methodology. place to play. How these qual- Rather, they can be used in ities can be enhanced archi- conjunction with any other tecturally are discussed in design approach to enhance the terms of three design para- special qualities or the meters, each of which describes user's response to a particu- several related architectural lar place. The parameters devices that can provide play described here are in no way opportunities. complete; with additional time and study, other parameters and architectural devices that af- ford play could emerge. What are the essential quali- At the same time play is an A ties of an environment that activity where we explore and affords play? Play is a manipulate something, thus voluntary activity where we gaining new insights into how suspend reality within some it works or about our rela- boundary and according to some tionship with it. A play place rules. Therefore a place of should entice us to see and play should help us establish touch things from another those boundaries and give us a perspective. In some way the sense of control, so environment should provide that we feel free to create risks and provoke -our curi- another world. Each of the osity; it should offer ele- play places observed in some ments that puzzle or amuse us, way sets itself apart from its surroundings. It provides a clearly defined play-ground where different rules or behavioral norms apply.

Everything is sweetened by risk. Alexander Smith Indeed everythingcomes alive when contradictionsaccumulate.

Gaston When considering how to afford Bachelard play in everyday settings, the balance between control and provocation is most important. A place that affords play A place which is warm and ser- should somehow set itself ene may be cozy but lack any off from its immediate con- impetus to play. However, a text in order to aid the jarring element such as a face player in creating another that jumps out at people, al- world. It must also maintain though wonderful in a funhouse some kind of balance between could become irritating or establishing a sense of secur- even depressing when incor- ity where the player can porated into a place that temporarily suspend reality people use often. When peo- and provide risky or provoc- ple go to a funhouse they are ative inducements to play. in a certain frame of mind What the proper balance should 00 which the designer can capi- be for any particular place .A talize on. But in a place is a function of the type of Ltd that people use on a regular play that might occur there, basis, the designer's wish to the group characteristics of provide play opportunities the players, and the context must accomodate the prevailing in which the play setting state of mind of its users. exists. '117 Many of the play places ob- These are common design prin- served utilize a number of ciples which can hardly be common design principles to considered unique devices for create the sense of another creating places that afford world or to provide control play. However, in the envir- or provocation for the players. onments observed, when these When such qualities as light principles are -greatly exagger- and dark, hard and soft, cold ated they often take on a and hot, or wet and dry are playful character. For exam- contrasted, they establish ple, a respect for context is extremes in the environment not necessarily playful, which can be used to differen- yet the Lampoon's humor is tiate the play-ground from the largely due to the exagger- real world or can induce active ation and mimicking of its or fantasy play. In addition surroundings. Similarly, a the places observed exploit careful use of light and dark opportunities for people to be may not be inherently playful, conscious of their immediate but in Las Vegas the eternal environment. They are rich in nighttime in the casinos tactile opportunities, full of exaggerates and reinforces pattern, offer many ways to the continuous sense of day circulate and explore space, in the brightly lit outdoors. and often use vertical or diagonal movement to generate excitement or interest. i'IB Scale is the relative measure of a physical object. The A size of an object can be N uIAi determined absolutely, but its scale must be considered with and we usually take notice of regards to something else. this exception. The Conastoga Wagon at Great Adventure is super-scale, Manipulating scale is a useful because it is much larger than architectural tool that can other wagons we know. A church serve to relate various parts which is the same size as that of a building to each other, wagon would appear to have to some unified whole, or to normal scale, while a city the some common dimension such as same size would be considered the human body. This can miniature scale. This is result in a building with a because we know that a wagon clear message and ordered is smaller than a church, hierarchy such as the Suffolk which is in turn smaller than County Courthouse, or a a city. Our perceptual exper- building full of obvious iences give us a wealth of distortions such as the information about the relative Brooklyn Children's Museum. size of things. When we con- More interestingly, it can front something which does not produce both order and dis- correspond to our expectation tortion in the same building, of its relative size, the as the Lampoon cleverly opportunity for play may exist illustrates. 11) In places of play, there are Superadjacencies are the three specific architectural juxtaposition of different devices which utilize scale elements or scales in manipulation to enhance their close proximity. They can play quality. Superadjagencies relate contrasting objects can be incorporated into a and allow multiple levels building to provoke interest of meaning by presenting fami- and fantasy by the close liar elements in a new way or proximity of various elements. from an unexpected point of Incongruities in a context view. On the facade of the differentiate one place from Suffolk County Courthouse, the its surroundings and offer wall plane is made up of opportunities for humorous pieces of pilaster, lintel, parody. Miniaturization or arch, window, and solid planes expansion of familiar elements in a way that each is recog- can make us feel large with nizable yet adds up to a respect to our surroundings. totality which feels massive. These forms of scale manipu- Mannerist buildings such as lation afford play by setting Borromini's Palazzo di Poro- a place apart from its immed- paganda Fide in Rome, are full iate context, creating amusing of superadjacencies which al- contradictions, or changing low us to envision inhabiting our relative size and impor- tance in the environment in order to provide a sense of control or domination. 12) any number of places. Build- ings with superadjacencies are full of familiar frag- ments which can stimulate the recreation of the world in fantasy.

An incongruity may be the result of gross exaggeration or diminishing of scale in a strong context. An incongru- ous element both sets itself apart as a special place and provokes our interest by making us aware of the various scales operating and our rela- tionship with them. When the incongruous element has the same formal characteristics as its neighbors, it is poten- tially humorous as well. The Government Center Subway Kiosk and the Harvard Lampoon are both humorous, incongruous buildings which draw on their

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surroundings for their play- foot wide covered passageway fulness. In Great Adventure which moves laterally through scalar incongruities are not the building. It is a de- INCON6RuITYas successful because there lightful, incongruous element is so much scale manipulation that provides a welcome diver- occuring that no normal scale sion in the overall order. exists which one can refer to. Perhaps the clearest form of In public places, incongrui- scale manipulation in places ties often take the form of of play is miniaturization of domestic-scaled elements the environment. When the within the public framework. world around us is shrunk, we The Brattle Theater Alley is gain.control over it and feel clearly a public way, but its more powerful from our tower- intimate scale sets it apart ing perspective. However, a from its context and exagger- diminutive place also ates the difference between heightens our sense of another itself and its neighbors to world, where the neatness and create a wonderful world for security within is contrasted the pedestrian. Similarly, with the wildness and confu- the Quincy Markets in Boston sion without by a narrow use a series of large scale margin. Surely the small dimensions which constantly scale of the Brattle Theater orient its patrons towards Alley contributes to its sense the sea. However in the South of oasis in the bustling world Market there is a narrow, four of Harvard Square just as doll -(I4PI) Ad42 None of us ever entirely outgrowsthe love of the doll'shouse or, usuallyin a vicariousform, the loveof squatting underthe table.

John Summerson3 houses provide an oasis for The flip side of increasing children where they can dic- our sense of self through tate what goes on. In adult miniaturization is by using play, the fascination with the enlarged forms which we can miniature is extended into the associate with and thereby small tents which we camp in, make us feel bigger. This is the aediculae which mark pul- more difficult than minia- pits and thrones, four poster turization because a large beds, and the booths in rest- form can be overwhelming and aurants which offer enclosure frightening if it is not and intimacy while dining. familiar and inviting. In Inside the aedicula or the Las Vegas and Great Adventure booth, the small scale of the the huge signs and attractions space intensifies our experi- are playful partly because ence of it and increases the they make us feel large with perception of our actual size. their familiar symbols and enticing messages. Similarly, the gigantic pilasters and MiNdIAT~fETO statues in the Piazza di Campidoglio in Rome initially '125(F eNL [ E

. m umake the space seem smaller niW' than it really is. As we come - upon the space we feel quite N large because we associate with its familiar elements. Another aspect of Piazza di -- Campidoglio's delight is that s once we reach the Piazza we become a central figure in "l the space and can look back out over the city from whence we came. This quality of delight is related to another design parameter of play, creating the sense of theater. 124 000 000000000000 0 0 JEN5§ OF /EA T/ 0 00/0E000 000000 000000 0

In the theater, actors take on In play, people become central new identities and create a new figures in their world; they world which revolves around shape and guide the course them and in which the audience of events as actors do in a vicariously participates. play. An environment which Within the theater, the play affords play, therefore, should 0/ TqJ becomes real during the perfor- reinforce the person's central mance, but when the play is role in his surroundings. completed, both the actors and Most of the places observed the audience reassume their somehow focused inwards, onto normal roles in the outside the players themselves. This world. The theater is a form focus increased their central of conscious play which con- position in the play world, tains the essence of most play helped to delineate its bounds, characteristics. It is inter- esting, therefore, that the All the world's a stage physical qualities of a thea- And all the men and women merely players. trical setting are an important Wiliam Shakespeare component of places that afford As You Like It II, Vii, 139 play.

119'V*4 1044J and increased their perceptual body image. Geoffrey Scott has distinguished between the actual, mechanical measurement of a building, its apparent or visual measurement, and its bodily measurement which is determined by how big a space makes one feel. When the player takes a cen- tral position in the world, he feels much bigger than when he is in a supporting role. When we are very close to a nearby wall, we perceive our body as having shrunk, while if we are oriented to an opening in a great space or a vista, we perceive our body as having 5 expanded. For example, the Las Vegas strip is an envir- onment composed of elements with large mechanical measure- ment. But, because they are

414) 11 AJW6 laid out along the axial path how we may amplify our play by of the motorist, the motorist sharing our pleasures and suc- can also feel quite big in his cesses with others. In simi- central position. However, lar ways, the raised entrance the Sears Tower is a large to the Las Vegas dining room, building whose bulk relegates the brightly lit elevators of people to the small canyons the Hyatt, and the President's around its base. The pedes- chair in the Great Hall of the trians feel quite subserviant Lampoon Building all say 'Look to the corporate symbol which at me, I'm important in this claims the main stage. world.'

Another theatrical component of play which is quite common among adult play environments is the desire to see others and to be seen. Once someone has achieved his central posi- tion in the play world, he may enjoy surveying others from this vantage point and want them to notice him. The children's cries of 'look at me' as they scale the molecule labyrinth in the Brooklyn Children's Museum illustrate '127o V1EWtNciPL.ATFtO

)A Qf . -D There are two architectural Another device is to create a devices which are repeatedly place where people can be on used to create the theatrical parade. A very theatrical sense of seeing and being seen parade can take on the sense in play glaces. The first is of a procession, such as the the use of viewing platforms ritual of pronouncing the where people can survey their guests' arrival at fancy surroundings and be on stage balls. It is easy to envision at the same time. The roman- such a parade of beautiful tic balconies on the Suffolk women and their escorts de- County Courthouse, the over- scending the Sweetheart look from the Ibis' nest in Staircase at the Rosecliff the Lampoon Building, the mansion while the guests elevators in the Hyatt, and below act as spectators who the flat, accessible roof of watch their entrance. However, the Government Center Subway parading becomes less formal Kiosk are all different types and more dynamic when the of viewing platforms. roles of the spectators and 19Is2V paraders constantly change, as in the promenade steps of many folk dances. In the lobby of the Berlin Philharmonic Concert Hall, the grand stair- way has been sliced up to become many smaller stairs. Along each stair, one gets a different perspective on the space and can both observe and participate in the passing parade. At Great Adventure benches are arranged so that when people along the main boulevard rest, they become the spectators. Then they can rejoin the parade whenever they wish. Thus, one can either enjoy the passing move- ment or contribute to it; be either the actor or the audi- ence at any moment. '129~ play environment should be rich in familiar objects which take A -- - on new meaning and augment our expectations of their use. An environment of strange, for- eign objects would probably not provide the requisite sec- Our cognitive sense of the urity that allows one to play. world is based upon a set of After all, play is not an ex- experiences, a knowledge that ploration of uncharted terri- certain actions will result in tories, but an inquiry into certain outcomes, which form a the known from a different series of expectations about point of view. what the environment affords. In play, we manipulate fami- Familiar objects can take on liar objects and ideas and in new meaning through miniatur- the process discover new in- ization or enlargement as pre- sights about them and about viously described. However, our relationship with them. they can also be reinterpreted We can attach new significance by serving new fuctions or to these objects by using them taking on new positions in the in new and different ways. A |world. Perhaps this is best

1 43D() exemplified in the Brooklyn Another architectural device Children's Museum where the for reinterpreting the fami- common artifacts of our world liar is allowing people to are used in new ways. A sub- see things from a new per- way kiosk does not take us spective. For example, the into a subway, but into a mus- willow tree looks quite eum. The People Tube trans- different when one is on the forms a sewer tunnel into a ground looking up into it. main thoroughfare, thus con- When Winnie-the-Pooh sees fusing our common expectation Christopher Robin's umbrella of a major corridor with the upside down he discovers that image of a service entry. The it can be used as a boat. museum's frenzied atmosphere Similarly, the turtle pond in is largely due to the fact the Boston Children's Museum that very few of its elements allows one to watch the fulfill our normal expecta- turtle swim from underneath; tions of them. Although it a view which is not normally seems to sacrifice one's sense possible. When we can move J tk)M of control in exchange for over, around, and through maximizing the provocative as- things in new ways they can pects of the familiar, the way provoke our interest and it reinterprets common objects change the way we normally is quite wonderful. perceive them. Re)' This discussion of some design parameters for architecture -55ENTIAL that affords play presents a ~O3--// OF- wide array of options which a L/Q/IT designer might incorporate into his approach for designing a particular place. However, how he uses them, and to what result, is quite like how a chef might use ingredients while practising his art. When a chef is confronted with a problem he uses a recipe to A -2 guide his solution. But the recipe's success is dependent not only upon using the right ingredients, but also in how and when they are used. The success of the meal is further dependent on the diners. The 7 '1 meal should be eaten at the proper temperature and in a sequence most pleasing to '152 the palate. But if the diners good place to play could dally over drinks or are dis- probably lead to other para- traught, the chef's success meters and would define will never be realized. additional devices that can afford play. However, there This brief analogy points up is no doubt that by labor- the fact that studying play iously applying these and behavior, observing where it other parameters to a place, may be occuring, and analy- and architect could design sing the salient parameters quite a frightening environ- which afford play may pro- ment. Although this discus- vide a wonderful recipe for sion describes important creating places of play. But, aspects of making places for (&~. like many a souffle, the play, no set of design para- results can flop if the meters alone could ever ingredients are not carefully describe how to replicate that proportioned or do not satis- delight, that sense of 'only fy the palates of the players. pretending' which is the es- The design parameters and sence of play. An environment their related architectural which can afford play is devices which evolved out of little more than a darkened the observations are three stage set until the players ingredients of places that come out and respond to it afford play. Further inves- with vitality and delight. tigation into what makes a

093PT or In many ways, such an illusive, fragile entity as play can be easily destroyed by our zealous attempts to under- When a designer approaches a stand it. It is helpful to problem with the desire to describe these parameters as instill a sense of play, he ways of affording play, but might start by considering any heavy-handed application such design parameters as of them could prove fatal to these. However, he must also the goal of fostering play. realize that our ability to If a designer approaches his play is related not only to problem in a playful way and our surroundings, but also tries to discern what type to our emotional and physio- of play responses are most logical state. Therefore he likely and appropriate for must understand the mind-set a certain set of conditions, of the people who will use he will be able to sprinkle in the place. Then he should that essential dose of delight realize that these and which eludes such analyses as other parameters of play are this, but can make a place limited by their analyses. wonderful.

133 VC!HAPTfR Th is chapter presents a brief design exploration that inves- tigates how the parameters which evolved from an under- ep BESIGN standing of play behavior and the observations might be used by a designer. The purpose of familiarity with the space and the exploration is not to its users facilitates envis- solve a particular architec- ioning how play can occur in tural problem but to gain some the corridor. The corridor understanding of how the con- also lends itself well to cepts expressed in these a study of possible design parameters might be realized options and not necessarily in physical form. to finding a single solution. It is possible to project The design problem selected is design ideas onto certain the redesign of MIT's main portions of the corridor I corridor. This is an appro- that would influence the rest .4 priate exploration for a of the corridor's character ii:- number of reasons. The without actually designing corridor and the general popu- its entire length. lation who use it are well known to the designer. This 1537 1K 7~ cii~~ GD=F~]i[I F'Z straightforward organization This framework derives in large measure from the of functional spaces. The basic pattern of MIT's historic building system, with its roots in the 1916 Main Campus - original buildings are organ- linear, interconnected, disciplined, a sequence of ized around a Great Court. highly practical work spaces, yet composed to reflect MIT's great intellectual idealism and They have uniform facades social purpose. 1 and are connected by an elaborate system of corridors. On either side of the corri- dors are large, high sp-aces that can,serve virtually any The Massachusetts Institute function. Thus, the great of Technology is one of the strengths of MIT's organiza- foremost centers of scienti- tion are that the physical fic inquiry and technological layout has the potential for innovation in the world. The tremendous flexibility over Institute trains people to time and that one never needs pursue rational, logical to go outdoors in the unpre- thought to satisfactory ends. dictable New England weather. Although its main campus The corridors are the common buildings are cloaked in threads which hold the organ- neo-classic garb, the under- ization together. While the lying physical organization functions behind them can of MIT reflects a large change frequently, the concern for a logical, r &d d

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dimensions and use of the There are aspects of MIT's corridors remains constant. organization where the As a result the corridors rational ordering procedures have a life of their own, which govern it are taken their own sense of passage to their absurd and irrational or place, quite independent extreme. For instance, the of what is on either side original buildings with their of them. uniform facades and connected corridors are in fact one huge building. Nevertheless dif- ferent sections are referred

BATHROOMS to by different numbers and the numbering system is A few guidelines for finding a bathroom quickly: generated by the symmetry of 1. On the main corridor, lavatories are stacked vertically. men's above womens and vice versa. the plan rather than how They normally occur at the junction of two people actually move through buildings, for instance 3-101, which is a women 's room. the building. The main 2. In the other main buildings, a similar situation entrance is Building 7 which applies,with bathrooms occuring at the ends leads directly into Building 3 of buildings or just before (or after) a corner. Example: 1-101 is a men's room. before coming to Building 10. 3. Check the corridorsfor water fountains. This clear, abstract ration- is a fountain, a bathroom can't Where there ality is utter nonsense to be far away. most people. H6wToGAMIT I T LOOKS L IKE AN ELECTRIC CIRCUIT lt

...... suffers from being disori- Although occasionallyintriguing and delightful, and confusing. It M.I.T. deserves its label as a five story subway, enting a resurrected mausoleum, and multi-story is so interconnected that a basement. While stately and beautiful on its formal exterior, the interior feels old and ugly. person loses his place in the system and can rarely tell Robert S. Schwartz 3 where one building ends and the next begins. Although The clarity of the corridor the corridors provide major organization itself reaches opportunities for brief the absurd in its sheer personal interactions, there size. The original main are few informal spaces along corridor is over 600 feet them and almost no transition long. It has been added on between the busy path and to continually until it is the functions along its sides. now 1750 feet long and takes The extreme length of the about seven minutes to corridors and their rather navigate. That is an incred- drab decor generally make ible amount of time devoted passage an uneventful or to interior passage. As a even disquieting experience. result, the entire system

FOR HOORAY INSTITUTE As is the case for much of MIT, the corridor GRAY system was designed from the inside out, with little thought given to the overall environment that has been created. /is) .I

Tech is a place for men to work and not for boys to play.

PresidentFrancis A. Walker 1894 5

What type of play might the being challanged by a problem. corridors of MIT afford? There are more men than women In order to get some idea, and virtually no children or one must look at the players older people. who inhabit them. MIT's popu- lation comes from all over MIT play has an intensity and the world but is rather homo- energy about it that often geneous in some respects. It makes it seem quite like is primarily young adults in MIT work. Computer simula- undergraduate or graduate tion games, Dungeons and studies, professors, research- Dragons, and other long, ers, and support staff. By cerebral games are extremely and large they are quick, popular. Parties are often logical thinkers who love less like congenial social

141 It's a good thing we only have eight terms at jargon used to describe the Institute. We only have nine lives, you know. things which mimics the tech- Thursday nical language of the class- room. As a group, MIT events than opportunities to students fall somewhere be- release the pressures of over- tween a private club and a due problem sets through wild bureaucracy; you need to know drinking and dancing. Many lots of buzz words to be a students seem to thrive on member. All buildings are being eccentric entities and numbers, all subjects are too, enjoy a kind of love-hate all organizations are anacro- relationship with MIT's nyms, and people 'punt', peculiarities both as an 'gnurd', 'tool,' or 'cook institution and as a place. with gas' on a regular basis. EVERYTHIN S MIT IS of NUMER ICAL Much the play consists of At some level, MIT students rather exclusive jokes about love self-effacing play that the highly technical course- illuminates their plight as work. There is an incredible victims of a grueling scien- tific education. Their T-shirts proudly proclaim IHTFP - 1. I Hate This #$%#*@# Place 2. It's Hard To Fondle Penguins' 'IHTFP', they raise money for 3. I Have Taken Freshman Physics charity by being UMOC (Ugliest Man on Campus), and each year punt - To determine after analyticaldeliberation not to do something, said something the student body presents The being academic in nature. often Big Screw, a left-handed model, HowToGAMIT /142 to a deserving faculty member. Now, here, you see, it takes all the running you can do to keep in place. If you want to get Sometimes it appears that the somewhere, you must run at least twice as fast more students proclaim their as that. hate of MIT, the more fun they Lewis Carroll have loving it.

One of the most popular forms Institute. The most bizarre of play at MIT is called of these leftover spaces are Institute Hacking. IHowToGAMIT sanctified as 'tombs of the describes Institute Hacking as unknown tool.' The original V...an attempt by students at tomb is a tiny space, 22 feet MIT to understand the creature high, located in a subbase- that has swallowed them. " 8 ment. It is full of graffetti TOOL Institute Hacking consists of and originally boasted an exploring the corridors, alter with an old, tattered basements, tunnels, and calculus book. MIT living rooftops of the campus in order groups have their own hacking to find obscure locations. The favorite hacking spots are to scale the Great Dome where one has a commanding view of the surroundings from the center of campus or to find small, Extra Credit - leftover spaces within the Define the universe. Give three examples. huge labyrinth of the Thursday 9 143 clubs which compete for finding ever more intimate, obscure places in the giant order of MIT or in achieving the dominence derived by scaling its domes.

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=_ - - --- Gm--14-; Within play, we in some way suspend reality and create the GENEllTI NG sense of another world. In order to enhance this other T HI worldly character, the main corridor should have an iden- tity of *its own which is clearly different from other corridors or places throughout MIT. The initial phase of design exploration, therefore, CONCEPT was to do three short sketch problems on a link of the corridor in Building 3 in order to explore possible identities, or themes, that would be appropriate ways to afford play in the corridor.

14Ij) The programmatic objectives 4. The building and room of this portion were quite number system should be simple: made clearer. 1. Due to the high volume of 5. Some transition zone be- traffic, a ten foot cor- tween the corridor and ridor width could not be bordering uses should be violated. established to mediate 2. Wherever the corridor between the private office expanded into adjacent uses and heavy corridor office space, that space traffic. had to be accounted for 6. The possibility for in mezzanine levels. stepping out of the corri- 3. The corridor is a primary dor stream for informal TRE SHOULD BE conveyor of information interactions should exist, SPACE FOR SKATE BOARDING at MIT. Therefore, there although major places should be many places to would probably occur at display and post notices stairway nodes. in a clear fashion.

This exam is intended to be instructive. Consequentlyit is sometimesthe case that part of the problem is to figure out what the problem is.

Directions for 6.034 exam

14.7 4 I THENAE AMINI-CLASSICISM MIT's formal exterior presents a unified, institutional image to both the surrounding com- munity and the people who work or study at MIT. The elegant proportions and neo-classical detailing support an entabla- ture upon which the greatest names of rational, western thought are inscribed. The names represent MIT's desire to connect itself in a rich continuum of scientific inquiry whose roots are much older than MIT's. In a way, these are famous alumni who had the misfortune to exist and excel before MIT was granting degrees.

The formal rigor of MIT's exterior sets up a strong and easily identifiable context, which provides the opportunity Iul for parody in the mini-class- bear nameplates which identify icism of theme A. Here, the uses within. The entablature gigantic three story pilas- becomes an illuminated infor- ters are shrunk to fourteen mation strip which locates feet, their spacing is cut in various offices and advertises half, and the immense windows upcoming events. It can be in the exterior become changed in order to pay homage smaller windows, doors, or to whatever namesake seems display places. The pilasters most appropriate to the stud- themselves become cork boards ent body at any time. The for posting announcements and rhythm of the pilasters in the mini-classicist corridor marks off a person's pro- gression, while the office space which spans above marks the abstract location of this place, building 3,.in the numerical hierarchy of MIT.

The mini-classicist corridor depends most heavily on its context and scale manipulation for its playfulness. It affords an intellectual play both suitable and appropriate for the inhabitants of MIT. 10 "N I i.I diagonal is reinforced in the corridor that provides an elevation by articulating alternative way of getting to the movement of the adjecent spaces above the corridor and, stairways in the corridor and further on, to the second by the exposed, twisted floor. This walkway provides mechanical ducts. The ducts a diagonal relationship also serve to mark the entries between parallel movement to offices and act as infor- systems and supports the neon mation kiosks. A light walk- lighting which runs down the way is hung along one side of corridor.

E) () B[ ELEVA TION 0 154 k It provides contrast through forms in a use appropriate to creating exterior facades the corridor. In some places, indoors and shrinking the the area spanning the corridor formal vocabulary of MIT so could be a public area that that a person feels much connects to the corridor, larger in relation to the providing a viewing platform institution. The use of the that could enhance the entablature as an informa- theatrical quality of the tion strip and the pilasters passing parade down the as notice boards is a way of corridor. reinterpreting these familiar

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'151w The Lighter Side of Technol- ogy investigates how exposing the building's guts and using high-tech materials might There is something very afford play. A diagonal is peculiar about MIT's function introduced in plan to set /1 as promoter of technological up a third direction which and scientific advancement mediates between the 600 and its heavy, neo-classical foot length and the 10 foot garb. A place that is dedi- width of the corridor. The cated to furthering an under- diagonal orients information standing of how things work so the pedestrian can view it should not hide itself better, creates entry places behind plaster walls. It into the offices, can be used should expose its inner to form spaces off the cor- workings and utilize light, ridor for displays or resting, efficient materials to sup- and heightens the player's port itself. MIT, of all sense of speed as he moves places, should be high-tech. down the corridor. The

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SPLAIN The' Lighter Side of Technol- ogy affords play by using light, high-tech surfaces which contrast with the heavy masonry of MIT. The mechani- cal ducts are used in new ways which allow people to move around and under them. In places, the dimension between the ducts and columns create tiny places to slip through or look into which manipulate the overriding scale of the corridor. The exposed stairways and hanging walkway help create theatrical relationships among the pedestrians in the corridor and those alongside and above it. pp oCx

SISAXIVMV (010119ViM J1IJ kt Ilm If MIT is a community of its By making two-story facades own, then the main corridor along most of the corridor, could easily be considered the scale of the street is Main Street. This thematic much smaller than the rest approach begins with an analy- of MIT. The neutral treat- sis of what Main Street should ment of the facades allows be like, according to a look easy change over time while at its bordering neighbor- the signs, arcade, streetlights, hoods. The concept of the and concrete walk provide a corridors as streets could consistent vocabulary of expand well beyond the main street forms. The ceiling corridor, with each section of could be brightly lit for MIT developing a different daytime and the streetlights street character, depending on used to cast an evening glow the uses of that neighborhood. so the corridor's character However, for this study the could change throuahout the section of interest falls day. between the City Gate and the Civic Center of Building 10. It is the logical place for a commercial strip com- plete with an arcaded sidewalk, small offices above, store- fronts, and streetlights.

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CELEVA ION C)G 162 16" COMMF NTA1Y Each of the three thematic technical wunderbar. Main approaches offer a variety of Street has the strongest

AND NOW A WORD play opportunities within the overall concept; the neigh- Q~FROMOUR SPONSORS corridor, but seem a bit borhood idea creates real timid in how they might differences along the corr.idor afford play. The mini- that would help orient people. classicist corridor seems In time the uses along the like a wonderful parody, but strip might even become small probably lacks the strength retail which the heavy to maintain that sense of pedestrian flow could surely play over the full 600 feet. support. However, at this The Lighter Side of Technol- point, the street forms are ogy makes use of what already not particularly intriguing exists in the corridor, but and rather like a shopping could be infused with much mall. more exotic artifacts such as visual projections, sweeping neon forms, or even holograms to capitalize on the sense of lightness and

.-164 Do some violence to the corridor. Rosemary Grimshaw

In the next phase of design, the Main Street idea is ..... further developed. A con- scious attempt was made to create much more of a fantasy ...... k world than the sketch problems generated, to push the limits of the corridor and the street, to use a freer interpretation and juxtaposition of street forms. In the following phase, the need to simply pass through the corridor is not so highly stressed in order to explore more risky or provocative design options. After developing the street to a strength and playful- ness of its own, later design development could modify the street to provide a balance of control and to accomodate the corridor's traffic volume. 1lci'a the columns become tele- phone poles with informative 'laundry' banners hanging This design exploration is from the wires, and a huge based on the idea that the billboard announces the reason regular order of MIT is so for all this folly. Store- strong that it alone provides fronts and displays violate an adequate level of control. the corridor width in some The street forms can therefore places. However, the corri- be greatly exaggerated or' dor expands around them in the bizarre without destroying direction of the Great Court the overriding framework. to accomodate the stream of This 'no constraint' approach pedestrians and reorient them led to a design that is based to the river. Giant neon ar- on the same ideas as Theme C, rows coming from the second but contains a more ecclectic floor signal this corridor assortment of street forms. shift. The large stair node These become incongruous provides a wider choice of elements that afford both movement than most stairs active and fantasy play in the afford. Normal treads move corridor. A manhole that con- up around an open well while nects to the basement occurs a narrow set of two-at-a-time right in the midst of shop steps provide a faster way up display cases, drinking foun- or down for the MIT students tains become fire hydrants, on the run. Of course, the fire pole is even quicker.

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1649 i 71 1"7 The City Center, located in In this portion of the Lobby 10, is quite different design exploration, the than the commercial strip. strip is deflected to run It is the most central place alongside Lobby 10 so the at MIT; the geographical City Center can be utilized center of the campus, the as one complete volume. The symmetrical center of the peddlers, snack bar, and original buildings, and the restaurant line the main place where MIT formally pedestrian way which is now addresses the Charles River. closer to the elevators and Currently, the stream of existing Gallery. Lobby 10 pedestrian traffic cuts is transformed into a series off one edge of the space, of places to relax and eat leaving a narrow strip of lunch which overlook a underutilized area along the central area suitable for outside wall. informal theater. Much of the classical detailing of the Lobby remains, while new infusions of heavy masonry and light metal balconies contrast with the existing order.

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A17:; The City Center affords play through the theatrical arrangement of its viewing platforms and the central stage area which marks the center of MIT. There are many ways to move to and from the various platforms. The ladders, labyrinths, and small stairways all recall the spaces that Institute Hackers love. Within the formal order of Lobby 10, familiar elements can be seen in new ways. One classical column is replaced by a steel I-beam; several columns are removed, leaving a base and capital where a Getting an educationat MIT is like person can stand and support trying to drink from a fire hose. MIT; and a fire hydrant is HowToGAMIT raised to the position of being a sculptural civic fountain.

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'141 The design exploration of the corridor and the City Center went as far as the thesis * . ~4L~ I£~J~' ~ deadline allowed. Some of the ------ideas explored are fantas- tically unrealistic, but T~ ~ others are simple modifications H to the existing spaces that could provide more play opportunities in MIT's

6. corridors. With more time and further design resolution, it might be possible to get some of the most fanciful ideas to happen in a realistic way.

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'L1)' Hundreds of years have imperfections and intuitions passed since Vitruvius as well as our rationality described architecture's and achievements. Our essential components in buildings are not machines Li terms of stability, commod- for various functions but ity, and delight, but they places where we can act and Q are still primary ingred- interact and which have mean- ients that make up the ings that transcend a '30 J places we enjoy. As a particular use. student of architecture and S engineering, I have had an This thesis has no conclusion. T A education that is heavy on It is really a beginning the stability and commodity investigation of how we can but rather light on the have environments which are T delight. If what is built not only stable and commodious, 4 e\ is any indication, most but delightful as well. Some architects seem to have had partial answers have evolved the same bias in their out of the question, 'What education. We live in a makes a good place to play?' world of tight budgets, but many more questions have complex programs, and emerged. However, these ques- difficult time schedules. tions will have to wait for But we also live in a world another time and place be- where people still laugh cause the thesis bell has and play and dream. We rung, summer is here, and I should celebrate our must go out and play. V ))l wr.)l CHAPTER ONE

1. Joseph Levy, Play Behavior (New York: John Wiley and Sons, 1978), p. 69.

2. Ivan D. Illich, Celebration of Awareness (Garden City, NY: Anchor Books, 1971), p. 4.

3. Richard Dattner, Design for Play (Cambridge, MA: The MIT Press, 1974), p. 7.

CHAPTER TWO

1. Eric H. Erickson, "Play and Actuality" in Play: Its Role in Development and Evolution, ed. Jerome S. Bruner and others (New York: Basic Books, 1976), p. 695.

2. Susanna Millar, The Psychology of Play (Baltimore: Penguin Books, 1968), p. 11.

3. Levy, p. ix.

4. Mayer Spivack, "The Landscape of Fantasy and the Real Live Playground," (Paper presented to the 44th annual meeting of the American Orthopsychiatric Association, Washington D.C. March, 1967), p. 5.

5.Edward 0. Wilson, Sociobiology (Cambridge, MA: The Belknap Press of Harvard University, 1975), p. 164.

.1WM 6. Levy, p. 1.

7. Millar, p. 15.

8. Johan Huizinga, Homo Ludens; A Study of the Play- Element in Culture (Boston: Beacon Press, 1955), p. 13.

9. Margaret Lowenfield, Play-in Childhood (New York: John Wiley and Sons, 1967), p. 35.

10. Gregory Bateson, "A Theory of Play and Fantasy" in Play: Its Role in Development and Evolution, ed. Jerome S. Bruner and others (New York: Basic Books, 1976), p. 125.

11. Jerome Bruner, On Knowing: Essays for the Left Hand (New York: Atheneum, 1973), p. 143.

12. Ibid., p. 110.

13. Erikson, p. 691.

14. M. Paul Friedberg, Play and Interplay (New York: The MacMillan Company, 1970), p. 35.

15. Wilson, p. 165.

16. Edward DeBono, Lateral Thinking for Management (American Management Association, 1971), p. 8.

17. M. T. Turvey and Robert Shaw, "The Primacy of Perceiving: An Ecological Reformulation of Perception for Understanding Memory" (n.p., n.d.), p. 199.

18. Levy, p. 127.

19. James J. Gibson, The Ecological Approach to Visual Perception (Boston: Houghton Mifflin Company, 1979), p. 127. 20. Millar, p. 114.

21. Jasia Reichardt, ed., Play Orbit (New York: Studio International, 1969), p. 72.

22. Levy, p. 138.

23. Jennifer Taylor, "The Dutch Casbahs: New Architecture in Holland," Progressive Architecture, March 1980, p. 91.

24. Karl Groos, The Play of Man, trans. Elizabeth L. Baldwin (New York: D. Appleton and Company, 1901), p. 135.

25. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas (Boston: Beacon Press, 1969), p. 17.

26. Ibid., p. 136.

27. Harvey Cox, The Feast of Fools: A Theological Essay on Festivity and Fantasy (Cambridge, MA: Harvard University Press, 1969), p. 177.

28. Bachelard, p. 173.

29. Dattner, p. 7.

30. Erik Erikson, Childhood and Society (New York: W. W. Norton and Company, 1963), p. 258.

31. Bachelard, p. 93.

32. Groos, p. 136.

CHAPTER THREE

1. John Myer and Margaret Myer, "Patterns of Association: Connections Between the Inner and Outer Landscape" (Cambridge, MA: Unpublished manuscript, September 1978), p. 27.

.JC)bSI 2. A. A. Milne, Winnie-the-Pooh (New York: E. P. Dutton and Company, 1954), p. 28.

3. Ibid., p. 48.

4. "Esprit Grows in Brooklyn," Progressive Architecture, May 1978, p. 62.

5. Malcolm Holtzman, Personal Interview, New York, October 3, 1980.

6. "Esprit Grows in Brooklyn," p. 62.

7. Ibid.

8. Bainbridge Bunting and Robert H. Nylander, Survey of Architectural History in Cambridge, Report Four: Old Cambridge (Cambridge MA: MIT Press, 1973), p. 42.

9. Martin Kaplan, ed., The Harvard Lampoon Centennial Celebration 1876-1973 (Boston: Little, Brown and Company, 1973), p. 67.

10. Ibid., p. 76.

11. Architecture, March 15, 1910, p. 51.

12. Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas (Cambridge, MA: Massachusetts Institute of Technology, 1972), p. 4.

13. John S. Margolies, "Now, Once and for All, Know Why I Did It," Progressive Architecture, Spetember 1970, p. 118.

14. Levy, p. 13.

15. Venturi, Scott Brown, and Izenour, p. 35.

'1 . 16. Jerry Adler, "America's Theme Parks," Newsweek, August 4, 1980, p. 56.

17. "Coney Island ... its Architecture is the Stuff that People's Dreams are Made Of," Architectural Forum, August 1947, p. 84.

18. Ibid.

19. Brittmari Wilund, "Amusement Parks - A Relevant Form of Public Recreation," (Master of Architecture Thesis, MIT 1976), p. 55.

20. Ibid., p. 35.

21. John Portman and Jonathan Barnett, The Architect as Developer (New York: McGraw-Hill Book Company, 1976), p. 5.

22-'1Ibid., p. 76.

23. Paul Goldberger, Global Architecture No. 28: John Portman (Tokyo: Books That Matter, 1974) , n.p. CHAPTER FOUR

1. Bachelard, p. 39.

2. John Summerson, Heavenly Mansions (New York: W. W. Norton, 1963), p. 2.

3. Ibid.

4. Kent C. Bloomer and Charles W. Moore, Body Memory and Architecture (New Haven: Yale University Press, 1977)T p. 27.

5. Ibid., p. 42.

At(~ C) CHAPTER FIVE

1. Gruzen & Partners and Mitchell/Giurgola, East Campus Master Plan, Massachusetts Institute of Technology Cambridge, Massachusetts, n.p., n.d., p. 1.

2. Eric A. Sohn, ed., How To Get Around MIT (Cambridge, MA: Technology Community Association, 1980), p. 18.

3. Robert S. Schwartz, "Managing Form: Studies in Cor- ridor and Concession Areas at MIT and their Implications for City Design," (Master of City Planning Thesis, MIT 1968), p. 16.

4. Gruzen & Partners and Mitchell/Giurgola, p. 16.

5. Sohn, n.p.

6. Ibid., p. 10.

7. Ibid., p. 210.

8. Ibid., p. 185.

9. Ibid., p. 38.

10. Ibid., n.p.

oI4~ Adler, Jerry. "America's Theme Parks." Newsweek, August 4, 1980, pp. 56-58.

Architecture, March 15, 1910, pp. r(-51.

Bachelard, Gaston. The Poetics of Space. Trans. Maria Jolas. Boston: Beacon Press, 1969.

Bateson, Gregory. "A Theory of Play and Fantasy" in Play: Its Role in Development and Evolution. Ed. Jerome S. Bruner and others. New York: Basic Books, 1976, pp. 119-129.

Bloomer, Kent C. and Charles W. Moore. Body Memory and Architecture. New Haven: Yale University Press, 1977.

Bruner, Jerome. On Knowing: Essays for the Left Hand. New York: Atheneum, 1973.

Bunting, Bainbridge, and Robert H. Nylander. Survey of Architectural History in Cambridge - Report Four: Old Cambridge. Cambridge, MA: MIT Press, 1973.

Callois, Roger. Man, Play, and Games. Trans. Meyer Barash. New York: The Free Press, 1961.

Caplan, Frank, and Teresa Caplan. The Power of Play. Garden City, NY: Anchor Books, 1973.

"Coney -Island ... its Architecture is the Stuff that People's Dreams are Made Of." Architectural Forum. August 1947, pp. 82-87.

4190 Cox, Harvey. The Feast of Fools: A Theological Essay on Festivity and Fantasy. Cmbridge, MA: Harvard University Press, 1969.

Czajka, James Vincent. "Architecture and Awareness of Self." Master of Architecture Thesis, MIT, 1975.

Dattner, Richard. Design For Play. Cambridge, MA: The MIT Press, 1974.

DeBono, Edward. Lateral Thinking for Management. American Management Association,1971.

Dietterlin, Wendel. The Fantastic Engravings of Wendel Dietterlin. New York: Dover Publications,~1968.

Erikson, Eric H. "Play and Actuality" in Play: Its Role in Development and Evolution. Ed. Jerome S. Bruner and others. New York: Basic Books, 1976, pp. 688-704.

"Esprit Grows in Brooklyn." Progressive Architecture, May 1978, pp. 62-67.

Freud, Sigmund. The Interpretation of Dreams. Trans. James Strachey. New York: Basic Books, n.d.

Friedberg, M. Paul. Play and Interplay. New York: The MacMillan Company, 1970.

Gibson, James J. The Ecological Approach to Visual Perception. Boston: Houghton Mifflin Company, 1979.

Goldberger, Paul. Global Architecture No. 28 John Portman. Tokyo: Book's That Matter, 1974.

Greenacre, Phyllis, M.D. "Play in Relation to Creative Imagination." (Adapted from Sophia Mirviss Memorial Lecture, San Francisco, CA, March 2, 1959.) 1)1 Groos, Karl. The Play of Man. Trans. Elizabeth L. Baldwin. New York: D. Appleton and Company, 1901.

Gruzen & Partners and Mitchell Giurgola. East Campus Master Plan Massachusetts Institute of Technology Cambridge, Mass. n.p., n.d.

Hall, E. T. The Hidden Dimension. Garden City, NY: Doubleday and Company, 1966.

Huizinga, Johan. Homo Ludens; A Study of the Play-Element in Culture. Boston: Beacon Press, 1955.

Illich, Ivan D. Celebration of Awareness. Garden City, NY: Anchor Books, 1971.

Kaplan, Martin, ed. The Harvard Lampoon Centennial Celebration 1876-1973. Boston: Little, Brown and Company, 1973.

Levy, Joseph. Play Behavior. New York: John Wiley and Sons, 1978.

Lowenfield, Margaret. Play in Childhood. New York: John Wiley and Sons, 1967.

Margolies, John S. "Now Once and For All Know Why I Did It." Progessive Architecture, September 1970, p. 118.

Millar, Susanna. The Psychology of Play. Baltimore: Penguin Books, 1968.

Milne, A. A. Winnie-the-Pooh. New York: E. P. Dutton and Company, 1954.

Moore, Charles, and Gerald Allen. Dimensions. New York: Architectural Record Books, 1976.

612 Myer, John, and Margaret Myer. "Patterns of Association: Connections Between the Inner and Outer Landscape." Cambridge, MA, 1978. (Unpublished manuscript.)

Norberg-Schulz, Christian. Existence Space and Architecture. New York: Praeger Publishers, 1971.

Portman, John, and Jonathan Barnett. The Architect as Developer. New York: McGraw-Hill Book Company, 1976.

Pragnell, Peter. "The Friendly Object." Harvard Educational Review, vol. 39, no. 4, 1969.

Reichardt, Jasia, ed. Play Orbit. New York: Studio Inter- national, 1969.

Schwartz, Robert S. "Managing Form: Studies in Corridor and Concession Areas at MIT and their Implications for City Design." Master of City Planning Thesis, MIT, 1968.

Sohn, Eric A., ed. How To Get Around MIT. Cambridge, MA: Technology Community Association, 1980.

Spivack, Mayer. "Archtypal Place" in ERDA 4. n.p., n.d.

Spivack, Mayer. "The Landscape of Fantasy and the Real Live Playground." (Papaer presented to American Orthopsychi- atric Association, Washington D.C., March 1967.)

Summerson, John. Heavenly Mansions. New York: W. W. Norton, 1963.

Taylor, Jennifer. "The Dutch Casbahs: New Architecture in Holland." Progressive Architecture, March 1980.

Turvey, M. T., and Robert Shaw. "The Primacy of Perceiving: An Ecological Reformulation of Perception for Understanding Memory." n.p., n.d.

1411975V Venturi, Robert. Complexity and Contradiction in Architecture. New York: Museum of Modern Art, 1977.

Venturi, Robert, and Denise Scott Brown and Steven Izenour. Learning from Las Vegas. Cambridge, MA: Massachusetts Institute of Technology, 1972.

Wilson, Edward 0. Sociobiology. Cambridge, MA: The Belknap Press of Harvard University Press, 1975.

EF Wilund, Brittmari. "Amusement Parks - A Relevant Form of Public Recreation." Master of Architecture Thesis, MIT, 1976.

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