ANAR Foundation: targeting children through lenticular imagery
"ANAR Foundation manages in Spain the European unique phone number 116 111, to attend children and teenagers under a risk situation. On this telephone number, only for minors, they can find the help they need in a totally anonymous and confidential way. But, how can we get our message to a child abuse victim, even when they are accompanied by an adult their aggressor?
Knowing the average height for adults and children under 10, we have created two different messages. Using an outdoor lenticular we show adults an awareness message, while children see a message where we offer them our help and show them the telephone number. A message only for children."
Fig.1 campaign created by Grey Spain (Grey EMEA, http://grey.com/emea/).
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Simon PerkinsSHARE
Earth houses give pupils refuge from Heathrow noise
"Buildings originally designed for earthquake and emergency zones in Asia and Africa are now being erected in London playgrounds to shield schoolchildren from the noise of aircraft landing at Heathrow. ...
The superadobe design was an invention of the Iranian architect Nader Khalili, originally with a view to lunar settlements but first employed in a refugee crisis after the 1990-91 Gulf war, before answering the needs of west London's noise-afflicted schoolchildren. The buildings can withstand tremors with a magnitude of up to 5.7. Their domes are also immune to the damage occasionally wrought on local homes' tiled roofs by vortices from incoming jets.
The headteacher, Kathryn Harper-Quinn, estimates that when outside, teachers are rendered inaudible to pupils for 25 seconds in every 90. 'I've been very concerned about the effects of the noise on the children's learning,' she said.
In the huts, she added, 'you can still hear the planes but you can also hear your own voice'. She said that as outdoor learning was both valued by teachers and a statutory part of the curriculum, staff had developed strategies to deal with aircraft noise, including the use of whistles to alert children who could not hear when teachers were speaking.
She said it was also important that the adobe structures were a refuge for children outside lesson times. 'When kids are playing they are also developing their language skills, and in the playground again they're being interrupted.'"
(Gwyn Topham, 22 April 2013, The Guardian)
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Simon PerkinsSHARE
The Imagination of Playgrounds
"The following images begin with make-do playgrounds (as in the photographs by Helen Levitt, Henri Cartier-Bresson and others), but are followed by some unique and creative playground structures, some of which are mid-century modernist designs. As these images attest, playground equipment can be as simple as a tractor tire or mimic the amorphic abstraction of Jean Arp. So whether you are a landscape architect, a designer or just an inventive kid, all that really matters boils down to one simple question: do children like to play on it?"
(John Foster, 14 April 2013)
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Simon PerkinsSHARE
One of A Kind: a childs guide to Radiotherapy
"Young cancer patients have told their stories in a cartoon that shows children and parents what it is like to have treatment. The six children, who received radiotherapy in Bristol, teamed up with the animation house Aardman for the production called One of a Kind! Their voices were recorded and given to the animated characters in the short film. It will be made available to hospitals all over the UK. The cartoon was the idea of Jancis Kinsman, advanced practice therapy radiographer at Bristol Haematology and Oncology Centre."
(15 June 2010, BBC News)
Fig.1 Emma Lazenby (2010). "One of a Kind" concept by Jancis Kinsman, directed by Emma Lazenby, produced by Aardman and ArthurCox, 6min.
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Simon PerkinsSHARE
Avondale Dogs: a young boy's relationship with his dying mother
"A young boy grapples with something bigger than he realises: the love within himself brought into focus through his relationship with his dying mother and this love's power of transcendence in times of pain and loss. A multi-award winning film."
(New Zealand Film Commission)
Fig.1 duration: 15 Minutes, ratio: 35mm, B&W, language: Maori Language.
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Simon PerkinsSHARE
