{"id":16500,"date":"2014-12-25T07:00:44","date_gmt":"2014-12-25T07:00:44","guid":{"rendered":"https:\/\/www.zatista.com\/blog\/?p=16500"},"modified":"2016-07-19T20:44:26","modified_gmt":"2016-07-19T20:44:26","slug":"public-art-kids","status":"publish","type":"post","link":"https:\/\/www.zatista.ie\/blog\/2014\/12\/public-art-kids\/","title":{"rendered":"Public Art For Kids"},"content":{"rendered":"

Via archdaily.com by Vanessa Quirk<\/a>:<\/p>\n

\"\"<\/a>

Wonder Space II, by Toshiko Horiuchi MacAdam and Interplay, at Hakone Open Air Museum. Photo \u00a9 Masaki Koizumi.<\/p><\/div>\n

In a world of \u201cdumbed-down,\u201d down-right boring playgrounds, the colorful, architectural masterpieces of Toshiko Horiuchi MacAdam<\/a> stand apart. The Japanese artist knits her amazing projects by hand \u2013 her most famous project, for example, inside the \u201cWoods of Net\u201d Pavilion at the Hakone Open Air Museum in Japan, took her about a year to complete.<\/p>\n

\"\"<\/a>

Toshiko Horiuchi created this amazing playgroud through crochet. It is located in the children\u2019s area of the Takino Suzuran Hillside National Park in Sapporo, Japan. Click on the picture for more info and pictures.<\/p><\/div>\n

In 2012, Archdaily\u00a0spoke\u00a0with Ms. Horiuchi MacAdam about the Pavilion and her other works, how they bridge the worlds of art and architecture, and how they\u00a0irresistibly\u00a0invite the world to play. The full interview is posted here<\/a>.<\/p>\n

\"\"<\/a>

“Fibre Columns \/ Romanesque Church”. Materials: Nylon. Techniques: Hand Knitting, Crochet. Location: Musee Jean Lurcat de la tapisserie contemporaine, Angers, France. \u00a9 Toshiko Horiuchi Macadam.<\/p><\/div>\n

AD: Some of your earlier works, such as \u201cFibre Columns \/ Romanesque Church<\/a>,\u201d are very architectural in nature \u2013 were you inspired early on by architecture? How so?<\/p>\n

When I was a student at Tama Fine Art University in Tokyo, we were introduced to the work of\u00a0Antonio Gaudi<\/a>\u00a0by a professor of architecture. Eventually, in my late 20\u2032s, I traveled to Europe and the Middle East. Of course, I went to Spain to see Gaudi\u2019s work. I also traveled to\u00a0Isfahan in Iran in particular to look at mosques.\u00a0Both impressed me a great deal.\u00a0Antonio Gaudi\u2019s work, as you know, is based on studies of \u2018naturally\u2019 curved forms (catenaries) as determined by gravity, turned upside down.<\/p>\n

\"\"<\/a>

image via: play-scapes.com<\/p><\/div>\n

AD: All of your work is hand-made: how does that fact change your relationship to the structures you create?<\/p>\n

THM:\u00a0My works are mostly made by hand, but in certain pieces (our \u2018SpaceNet\u2019 play environments, for example,\u00a0 as well as \u2018Luminous\u2019 a theatrical stage curtain \u2013 I have incorporated a mechanically knotted net). \u00a0However, it begins from my hands.<\/p>\n

\"\"<\/a>

image via: beautifuldecay.com<\/p><\/div>\n

AD:\u00a0Your structures are intriguing to adults and children because they are so interactive. What motivated the decision to get your structures out of the gallery and into the real world?<\/p>\n

As an artist I had been exhibiting my work in museums and galleries.\u00a0 At the same time, I was searching: what do I value in life? Who am I? Why do I create these works? Why do I pour so much energy into my work?\u00a0Throughout this time I created a few works of importance, but at heart I was not fully satisfied.\u00a0One day I was exhibiting a 3-dimensional open-work textile sculpture I had created in collaboration with a friend.\u00a0 Some children came to the gallery and climbed into it. Suddenly the piece came to life.\u00a0 My eyes were opened.\u00a0I realized I wanted just such a connection between my work and people alive at this moment in time (not a hundred years from now). I realized I was in fact making works for children.\u00a0 It was an exciting moment for me.<\/p>\n

\"\"<\/a>

image via: artyarnblog.tumblr.com<\/p><\/div>\n

AD: Would you agree that a great playscape is one that allows children to take risks? Would you consider your structures risk-encouraging environments?<\/p>\n

I agree. Children need to cope with risk.\u00a0 They enjoy a challenge but by nature are very careful.\u00a0 Presented with a play structure which does not challenge them, they quickly grow bored\u2026 and then break them. If you give them a challenging play environment, well designed so children can assess risk, they will not get hurt. Our structures encourage children to challenge themselves but with many routes and options.\u00a0 There is no program of play.\u00a0 There are always alternatives. Each child plays at the level he or she is comfortable with.<\/p>\n","protected":false},"excerpt":{"rendered":"

Here’s a playground that’s irresistible to both kids and adults. Works by Japanese artist Toshiko Horiuchi MacAdam will blow your mind …<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[670,338],"tags":[1558,1557,1556],"class_list":["post-16500","post","type-post","status-publish","format-standard","hentry","category-art-styles-and-mediums","category-artists","tag-japanese-knit-playground","tag-knit-playground","tag-toshiko-horiuchi-macadam"],"yoast_head":"\nPublic Art For Kids - Zatista.ie<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.zatista.ie\/blog\/2014\/12\/public-art-kids\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Public Art For Kids - Zatista.ie\" \/>\n<meta property=\"og:description\" content=\"Here's a playground that's irresistible to both kids and adults. 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