FORM-GIVING TECHNIQUE IN DESIGNING PLAYGROUND EQUIPMENT FOR CHILDREN IN OUTDOOR PUBLIC SPACE IN HO CHI MINH CITY, VIETNAM

ABSTRACT

The art of form-giving playground equipment is a crucial part of creative innovation and is specialized knowledge in industrial design training. Based on art and design theory, the essence of form-giving of playground equipment is to create designs that ensure function and enhance interaction for children. The study focuses on analyzing form-giving techniques based on shape expression without delving into functions and interactions. Research results show that there are three main techniques that are often applied in creating forms of playing equipment. Although these methods are analyzed independently, they have the ability to work together, and their effectiveness depends on the designer's form-giving talent.

АННОТАЦИЯ

Искусство придания формы оборудованию для игровых площадок является важной частью творческих инноваций и представляет собой профильные знания в области промышленного дизайна. Исходя из теории искусства и дизайна, суть придания формы оборудованию для игровых площадок заключается в создании дизайна, который обеспечивает функциональность и улучшает взаимодействие между детьми. Исследование сосредоточено на анализе методов придания формы, основанных на их выражении, без углубления в функции и взаимодействия. Результаты анализа показывают, что существуют три основных метода, которые часто применяются при создании игрового оборудования. Несмотря на то, что эти методы анализируются независимо друг от друга, они способны работать сообща, и их эффективность зависит от таланта дизайнера придавать форму.

Keywords: technique, form-giving, playground equipment, children, public space.

Ключевые слова: техника, придание формы,

Introduction

The role of aesthetic-shaping in the practice and vocational training of industrial product design has been crucial since it was taught at the Royal College of Art (London) and until today. However, there are not many studies on form-giving techniques in industrial design, quintessentially Rowana Reed Kostellow, Abu Ali, Cheryl Akner Koler have had direct researches on physical form-giving for industrial design. Meanwhile, there are many opinions nowadays, claiming that both industrial design designers and engineers must also take into account the physical form which the works will have, and their shaping such that they are coherent and usable.

In essence, industrial design is an interdisciplinary field. In particular, playground equipment design would involve design, architecture, landscaping, and ergonomics. Guidance documents on aesthetic shaping for this subject are, however, quite rare; the content of this article can be used as a reference for students of design and architecture in designing playground equipment.

Methodology

Like other arts, design arts have their own form-giving language and principles. Academically, documents on form-giving serve as the basis for the selection of the following universal characteristics by Dang Duc Quang [1] and Vo Ngoc Diep [2]. 

To arrive at the following findings about the archetypical characteristics of the form-giving of playground equipment and playground space, the theories of shaping and spatial relationships are based on the principle of harmony and ensuring interaction, used in analyses of previous studies [3] and [4]. The criterion of harmony is a general aesthetic criterion, whereby “harmony” here is harmony with itself and harmony with the landscape; the criterion of interaction aims to ensure the functionality and satisfaction of players and the indirect participants (parents) experience.

Findings

The simulation/stylization technique for form-giving

The long-standing practice of simulated/stylized objects form-giving ranging from furniture and tools to products and playground equipment is no exception. The reason is because according to form theory, "in the beginning, the shapes available in nature were often ideal models for humans to refer to for a specific purpose" [5] and determine which design is suitable for which purposes. The shapes are often precisely adapted and depend on the children's play needs. This method is especially suitable for small children because the form theory in design explains that "it helps users easily recognize and have friendly emotions about the function of the product". [6] Over time, new technology or new materials become available. Designers improve and transform old designs, thereby establishing new form standards. The process of developing simulation/stylization technique for form-giving has been based on the machinability of materials and technology. Take for example a "roof", when made from metal and semi-industrially produced, shaped by, color coordinated, machined with identical pre-formed panels and assembled (Fig. 1). The method of sheet machining uses the language of form-giving planes, usually only creating planes with one or two uniform shapes. Like the form of the "roof" in this picture, it is possible to use an additional trapezoidal plane along with a triangular plane similar to the existing one to create the roof. When made from plastic-based materials (plastic or composite), the "roof" is in the shape of a miniature bell-shaped block pointed at the top for easy molding and is easily seen in many different locations such as Phu Nhuan Children's playground, Children's Hospital, Saigon Thao Dien Bridge playground…(Fig 2.)

Figure 1 & 2. Simulation techniques with forms of flat-panel and spherical roof

The second technique originates from simulation but reduces the natural face to a minimum, meaning that the forms are radically simplified such as the representative form of a playground equipment at the Riverbank park in District 7 (Fig. 3 ). At first glance, the play device's angularity is accentuated by the geometry of the background. But the original form of this play device comes from four repeating units of a pattern that is not difficult to recognize as a simplified image of a lily flower with its characteristic long large stem, the flower growing by a curved petal inverted bell ring.

The method of stylization/simulation on the one hand goes with the material's own color without following the reality (for example, sunflowers that are not yellow), in harmony with the landscape as in many Thanh Da parks, Van Phuc, Saigon Thao Dien Bridge, Tan Cang Park, Riverside Park, and many other public spaces (Fig. 4). On the other hand, this will get along with the richly detailed decoration. This way, colors are usually used very diversely such as at Binh Phu park, the playground of the Grandparents and Grandchildren neighborhood of Ward 14, Tan Binh Children's House (Fig. 5). To achieve detailed decoration as in the example given, the manual decoration method is applied. From a descriptive perspective, this method somewhat enhances the descriptive quality, which is one of the characteristics of the hyperbolic form of simulation and stylization.

Figure 3. The technique is radically simplifying visual images from nature to create abstract forms. This is a lily flower;

Figure 4. The colors of the playground equipment are in harmony with the landscape located along the river

Figure 5. Stylized and imitative design, in rich decoration

The abstraction technique for form-giving

The abstraction technique for the form-giving of form and space of playground equipment is considered to be lively. Form begins to evolve far beyond its original naturalistic origins and takes on completely new, uniquely human designs. Such an abstract view will help human abilities not be tied to just one specific problem, but will be generalized and flexibly promoted to solve many more problems. [3] Form begins to develop far beyond the original origins of naturalistic playground equipment and takes on completely new, uniquely human designs. In this context too such an abstract view will help human abilities not be tied to just one specific problem, but will be generalized and flexibly promoted to solve many more problems. The ability to abstract in shaping has also led to purely cultural inventions that have nothing to do with the natural world or human form and motor skills [3].

Abstraction is seen a lot in parks owned by small communities (for example, Van Phuc urban area, Vinhome Nguyen Huu Canh urban area). The technique used in the abstracted form of these playing devices is distorting (level 2-Transitional form and according to Akner-Koler). From an initial geometric block form, there is a change in the direction of the tension force that distorts the block (Fig. 6). In these two examples, the first example at Bach Dang Wharf, the direction of the change bases on function, the designer wants to create a downward sliding motion according to gravity, thus creating a distorting block. This block has a spiral plan, a cylindrical shape, and a gravitational centripetal force, so it is a deformed mass transfer block. The second example at Vinhome, the block changes its original aesthetic form to a twisted ring shape, creating a feeling of continuous movement force along the curve of the circular orbital frame, but the rhythm changes evenly up and down in space.

Figure 6. Abstract form by distorting a geometric 3D-form

“Liberal” expression through improvisation (Fig. 7) is another tactic found in the construction of abstract play devices. This method has an structureless style. The way we see from each different angles, the "disorder" in the way the form-giving languages ​​intertwine is both connected in a "jumble" and a disruption of each unit as if wanting to separate from each other, expressing an internal force of anti-connection - What often appears in the physical concept of endurance, is now expressed in conceptual form.

Figure 7. “Liberal” expression through improvisation

The form-giving methods of geometric shapes are very specific in meeting the function. Many concepts of geometric shapes may have originated from accumulated practical experience before being codified and then adopted into other applications. Geometric shapes are simpler than the form-giving methods for simulation or abstraction, often based on array connection techniques (Fig. 8) or on cutting blocks to create new blocks which enrich form simply while increasing functional properties. As shown in the picture there are two types of playground equipment at Central Park (Fig. 9). Both have the geometric shape of a hemisphere (Dome). The first way of cutting increases decoration and creates circulation space, the second way of cutting is to create a virtual volume of a hemisphere.

Figure 8, 9. The techniques for connecting panels and piercing out geometric shapes to create new

The non-figurative forms technique for aesthetic form-giving

Building aesthetic objects from basic non-figurative forms (Fig. 10). This tactic allows a form-giving language to dominate, the homogeneity of block structure disappears to give way to the combination of block units creating diversity and visual interest. From another aspect, the language used in this case is strokes, physically connected together according to a single technical attribute of creating each bar segment and using joints to connect them. These joints serve both function and aesthetics, so they become rich in decoration, contributing to the overall visual effect.

The in-depth analysis of common tactics commonly found in playground equipment has no classification meaning. In fact, playground equipment designers can combine them in the same play equipment, providing fun and originality that serves function and ensures interaction. As shown in the picture is a multi-function, multi-technique playground equipment combined at September 23 park (Fig. 11). The ultimate goal of senses development still includes creating engaging and stimulating experiences for children. Designers incorporate a variety of strategies for different types of play such as sensory play (touching different textures, hearing sounds), creative play (drawing, singing, acting, simulating) and physical activity play (running, climbing...). These varied options engage children's senses and promote exploration.

Figure 10. Abstract form using the "formless" technique;

Figure 11. Multi-functional playground equipment with multi-techniques in formgiving

Conclusion

The above techniques are intended to guide students or designers in playground equipment physical form-giving, but each method has different difficulties and limitations. Abstraction requires appropriate aesthetic tastes; Simulation-stylization is difficult for domestic production; Meanwhile, Modules and geometry are advantageous in the age of Big Data but can lead to unattractiveness or monotony. Techniques for the form-giving of outdoor playground equipment are analyzed individually, but they can be combined to provide the most aesthetic effect and to suit local production situations.

References:

1. Dang, D.Q, & Dang, L.A. Shaped base. Hanoi: Construction Publisher, 2022.
2. Nguyen, N.G, & Vo, D.D. Architectural shaping facility. Hanoi: Construction Publisher, 2023.
3. Nguyen, T.U.U. Aesthetic value of playground equipment in public spaces. Dissertation. Ho Chi Minh City University of Fine Arts, 2012.
4. Nguyen, T.U.U. Aesthetic value of form-giving physical playground equipment for children under 14 years old in Ho Chi Minh City // Arts and Culture Journal. 2024. No.572, pp. 115-117.
5. Heskett, J. (2011). Design. Translated by Nguyen Thanh Viet and Vu Kieu Chau Loan. Hanoi: Knowledge Publisher, 2011.
6. Ngo, T.T.T. Form-giving industrial products - from present to future. Fine Arts Publisher, 2024.