The art of play: In conversation with The Playground Project Melbourne

Jellis Craig and The Jellis Craig Foundation are proud to be major sponsors of The Playground Project Melbourne exhibition. Curated by Swiss urbanist Gabriela Burkhalter, the work traces 150 years of playground design, highlighting its ties to art, activism, and architecture. In this article, Gabriela Burkhalter shares the origins of her research, while Jade Niklai, Head of Visual and Public Art, Moonee Valley City Council, reflects on how the project comes to life in Melbourne at Incinerator Gallery.

About Architektur für Kinder

Gabriela Burkhalter, Guest Curator

Why do you feel it is important moment to reflect on the history and future of children’s play?

The Playground Project emerged from a research project I started around 2006, inspired by the book American Playgrounds. Revitalising Public Space by Susan G. Solomon. When I discovered a number of these non-standardised playgrounds, I realised they are not considered part of the urban heritage. But why? They had an incredible artistic quality and served as a testament to their time. People have fond memories of these playgrounds, yet they were simply removed, with few exceptions. I therefore wanted to document these playgrounds and honour their designers, who had invested a lot of time, passion and money.

How have cultural and political contexts shaped the way playgrounds are designed around the world from 19th century playgrounds of the past to more standardised designs today?

After World War Two, the topic of the playground became increasingly important when the need to build new housing and neighbourhoods arose, as did the question of where children could play safely in the context of the dominance of cars in cities.

Later, design responsibility was handed over to companies, so standard solutions became the norm (although they always existed alongside individual solutions). Individual designs became almost impossible to achieve due to the high safety standards.

Playground design used to be a sign of civic engagement. For instance, the schoolyard playgrounds in the US in the 1970s were often organised by the Parents & Teachers Association and built through a collaborative effort. The first adventure playground, opened in Germany in 1967, was a response to a lack of play spaces for older children in a large housing estate in West Berlin. 

The first adventure playground in Melbourne, Australia, also emerged from the initiative of a single woman, Joan Healey. Building an individual playground always requires the engagement of local people and associations.

At the beginning of the playground movement, community groups in countries such as the US, England, Germany, and Australia responded to the challenges of growing urban environments. Playgrounds were introduced to offer children safe spaces for activity, learning, and social connection. Over time, the importance of play in childhood development became more widely recognised. It was increasingly linked to creativity, nature, and the benefits of unstructured exploration. To support these ideas, new playground concepts emerged, often shaped by artists, architects, and educators.

Transforming Moonee Valley's Incinerator Gallery into interactive play space

Jade Niklai, Head of Visual and Public Art, Moonee Valley City Council

What do you hope visitors take away from the experience? 

The Playground Project Melbourne is where design meets adventure and where the digital pause button gets pressed. In a world where kids often play on screens, this colourful, ever-changing space turns play into something magical, and invites kids (and kids at heart) to climb, explore, and connect through hands-on, interactive installations. It’s not just about fun, although there’s plenty of that; it’s also a place for social connection. It's a takeover where creativity, teamwork, and shared imagination come to life. Every corner is designed to spark curiosity, inspire movement, and remind us that some of the best learning happens when kids play together. 

What conversations do you hope this exhibition will spark among families, designers, or city planners?

Local community groups are invited to gather at the Round Table during gallery hours; a modular artwork by renowned designer Mary Featherston, a pioneer in creating play and learn spaces for children over many decades, and the accomplished local artist and educator, Emily Floyd. Created as both a play element and a space for public programs, it encourages connection and creative exchange.

As a collective, The Playground Project Melbourne invites audiences to see play not just as child's fun, but as a powerful force for reimagining all lives and all our public spaces. This vibrant, hands-on exhibition shines a light on the importance of children's play, while encouraging communities and designers alike to think differently about how we use and design our suburbs.

With support from Moonee Valley City Council, the project champions the idea that liveability and creativity go hand in hand. By bringing playful, interactive art into everyday environments, it shows how art can spark connection, boost well-being, and breathe new life into our streets and parks. The Playground Project Melbourne is more than just fun. It’s a bold step toward art-led urban renewal and stronger, more joyful communities.

Welcoming visitors to the Incinerator Gallery is The Ringtales Playground, designed by the Melbourne-based architecture studio and exhibition designers, BoardGrove Architects. This custom-built, public place space is greatly inspired by Gabriela’s research: the pedagogical ideals of ‘free play’, the significance of organic shapes and materials, and the criticality of risk-based play in childhood.

The Brutalist Playground. Conceived by Australian visual artist Simon Terrill and the UK-based design studio, Assemble; it re-imagines mid-20th century brutalist playgrounds in colourful recycled foam and invites young visitors to an immersive installation that blends sculpture and architecture.