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Transfer stations and ramps are not the only viable tools to ensure accessibility. https://crochetplay1.bandcamp.com/album/crochet-playground. The standard leaves room for alternate solutions if they result in equivalent or better usage. Access nets or other close to the ground nets meet that criteria. On most rope structures the entire base perimeter serves as a transfer point to the climber.


This website is intended as an overview or guide to assist each guest in the park or who intends or wishes to enter the park or who uses or intends or wishes to use, enter, board or experience any attraction (crochet net).


Pirate Sailboat Toy Houses The Red Beards Revenge Pirate Ship Playhouse by Posh, Tots is Life-Size.

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But playgrounds for children came about by accident years later. As she describes it, “One day I was exhibiting a 3-dimensional open-work textile sculpture I had created in collaboration with a friend. Some children came to the gallery and climbed into it. Suddenly the piece came to life. My eyes were opened.


It is as if the image is telling my hands what to do – which is why it is difficult to use other people’s hands. When I am using my hands, my brain focuses, the image becomes clearer, technical solutions come to mind.” She uses a thick nylon rope that with proper maintenance creates playgrounds that can last for decades.


My works are much loved by children.” Indeed they are – and by playful adults, too. See more evidence here - https://www.a2zsocialnews.com/author/crochetplay1/.

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• • • • • • • • spent three years crocheting the Rainbow Net, a stunning interactive installation made of nylon located at the Takino Suzuran Hillside National Park in Sapporo, Japan. Toshiko construct each one from thousands of pieces of nylon, crochet them together into braids over the course of months and then construct them in the chosen location: “sports are good for some people, but not every child.


• • , , , , or is a type of graffiti or street art that employs colorful displays of knitted or crocheted yarn or fibre rather than paint or chalk. While yarn installations – called or – may last for years, they are considered non-permanent, and, unlike other forms of graffiti, can be easily removed if necessary.


This was followed by a commission from an art museum in Japan for a sculpture children could not just look at but touch, play with and experience through all their five senses. “a sculpture children could not just look at but touch, play with and experience through all their five senses.” What a gift for the children who get to experience it – bringing art to children, and children to art.

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Some of the surfaces in the hanging playground are springy- kids can get bouncing as if they were on a trampoline! This masterpiece is hand-made and has done a bit of a world-tour of sorts since it's production, moving from the Museum of Contemporary Art in Rome, to an art museum in Ohio, landing for some time in Hong Kong's IFC mall (crochet playground).





This inspiring moment (which saw her let the kids continue to play rather than getting up in arms about it) lead to her creating a piece for a preschool's playground. Horiuchi thinks these playgrounds encourage children to get active like kids did back in the 'ol days, rather than continue to live the sedentary childhood kids live in modern times.


We reckon they're worth the drive, too! Best of all- they're free. The knitted playground is now on its way to its next destination, which remains unknown. Fingers crossed it's Sydney! .

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This year, the couple is working on new pieces to be installed in Dubai and Florida. Though they have spent much of their adult lives in Nova Scotia, the two met in Tokyo in 1982. And that is where Toshiko, whose early sculptural work led to their first crochet play structure, began her path.




“But with knitting, tension and the length of the slit create different shapes.” Crochet, she found, is even “freer” than knitting, making it easier for her to work with organic shapes. But at age 30, she became depressed, feeling that “something was missing from my heart.” She had a revelation: “Textiles were produced by humans and developed for their needs.


Rendered in cremona, a synthetic rope produced in Japan, it filled a room in a Tokyo gallery. One day while Toshiko was at the gallery, two children walked in and started climbing her piece. Most artists would be appalled, but for Toshiko, the moment led to an epiphany; it hit her “like a monster.” “As the children started moving, the shape changed.

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Her goal, she says, was to “make space with textile, which is stretchy and flexible (https://www.netvibes.com/subscribe.php?preconfig=a842b9ae-7aa7-11ed-b5e1-a0369fec9dbc&preconfigtype=module). If you put kids in there, they start bouncing and creating vibrations with each other, and they create their own play. That was the beginning of the dream.” Like her cell-inspired installation, the structure was made with cremona, but it was an inferior material, and the work only lasted six months.


(Toshiko was teaching a summer course while he was there in 1978, but the two didn’t cross paths). He was our website working as an investment banker in Japan when he met Toshiko in 1982. They got married, had a child, then moved to Bridgetown in 1988, where, two years later, they started Interplay Design and Manufacturing to focus full-time on creative play structures.


Because of the amount of wear on the structures – some support thousands of children, climbing and bouncing, each day – they require occasional replacement. But with improvements to the production process, that interval has grown. In addition to making new pieces, Toshiko and Charles are in the process of replacing the material on a 60-foot-long structure installed 28 years ago in a Tokyo sculpture park.