You Can Thank 1950s Suburban Architecture for ‘The Floor Is Lava’

David Franzen, Library of Congress
David Franzen, Library of Congress

No one knows who, exactly, was the first kid to play "The Floor Is Lava," the simple childhood game that has only one rule: You can’t touch the floor. But as Quartz reports, a new paper contends that the game wouldn't have come about if it weren’t for the rise of American suburbs.

Published in the Social Science Research Network, the analysis by Tim Hwang of the MIT Media Laboratory argues that architecture was a vital factor in the spread of the folk game.

In the new suburban housing developments of postwar America, builders began to market the relatively new idea of the family room, an informal room designed for the social needs of the whole family. This room was separate from the formal living room and dining room, both of which were more likely to contain the inhabitants’ good furniture and fancy china. In building plans popular in the 1950s and 1960s, they were also set apart from the kitchen. One 1965 poll found that seven of 10 new houses built that year contained a family room.

And these factors, Hwang argues, are integral to playing The Floor is Lava. Family rooms provide big couches, coffee tables, and other furniture that kids can move around, climb on, and use as props for the game. Bedrooms would be too small, and formal living and dining rooms too full of potentially fragile items that Mom and Dad would be livid to find disturbed. And kitchens were seen as a mother’s domain, meaning that she would likely be there to put a stop to any shenanigans.

"What is unique about the family room space is both the quantity of space and permission that it affords to the play of The Floor is Lava,” Hwang writes.

However, this is just a hypothesis, and no one can really identify who started playing the game first. Kids in urban apartments can also theoretically jump all over their parents’ living room furniture, if allowed. During my childhood, the game typically took place on a playground rather than inside, requiring players to avoid the ground rather than the family room floor. There are games that originated elsewhere in the world that also revolve around avoiding the floor—Hwang notes examples from Kenya and the UK. But given how the spread of suburbs in the U.S. during the postwar period affected home design, it makes sense that a game might arise from the new spaces children lived in. We may never truly know how The Floor Is Lava was invented, but architecture seems like a good clue.

[h/t Quartz]

Shanghai Is Now Home to the World’s Longest 3D-Printed Bridge

World's largest 3D-printed bridge in Shanghai, China.
World's largest 3D-printed bridge in Shanghai, China.
Tsinghua University

Small items like toys and shoes aren't the only things 3D printers can make. As a team of architects from China's Tsinghua University School of Architecture recently demonstrated, the machines can be used to print sturdy bridges large enough to span waterways.

As dezeen reports, at 86 feet in length, the new pedestrian bridge on a canal in Shanghai's Baoshan District is the longest 3D-printed bridge on Earth. Designed by the university's Zoina Land Joint Research Center for Digital Architecture (JCDA) and constructed by Shanghai Wisdom Bay Investment Management Company, it consists of 176 concrete units. The parts were printed from two robotic-arm 3D-printing systems over 19 days.

The 3D-printing technology cut down on costs as well as construction time. According to Tsinghua University, the project cost just two-thirds of what it would have using conventional materials and engineering methods.

Even though their approach was futuristic, the architecture team paid homage to a much older bridge in a different part of the country. The new bridge's arched structure is inspired by that of the 1400-year-old Anji Bridge in Zhaoxian, the oldest standing bridge in China (and the world's oldest open-spandrel arch bridge).

The bridge in Shanghai may be the longest 3D-printed bridge in the world, but it isn't the first. Last year, a 3D-printed steel bridge was unveiled in Amsterdam.

[h/t dezeen]

A Clue on the Ceiling of Grand Central Terminal Shows How Dirty It Was 30 Years Ago

iStock.com/undercrimson
iStock.com/undercrimson

The mural above the concourse at Grand Central Terminal is one of the most gawked-at ceilings in New York City, but even daily commuters may have missed a peculiar feature. Tucked at the edge of the green and gold constellations is a rectangular black mark. The apparent blemish didn't get there by mistake: As Gothamist explains in its new series WHY?, it was left there by restorers when the ceiling was cleaned more than 20 years ago.

Prior to the Metropolitan Transportation Authority's renovation of Grand Central in the 1990s, the concourse was a lot dirtier. The station itself was constructed in Manhattan in the early 1900s, and the celestial scene that's on the ceiling today was painted there in the 1940s. It took only a few decades for tobacco smoke and other pollutants to stain the mural so badly that it needed to be restored.

Using Simple Green-brand cleaning solution and cotton rags, conservators spent two years scrubbing nearly every inch of the ceiling back to its former glory; the one part they skipped was a 9-inch-by-18-inch patch in the northwest corner. Sometimes, when doing a major cleaning project, preservationists will leave a small sample of the art or artifact untouched. If the cleaning products did any damage to the paint, the patch gives future preservationists something to compare it to. It also acts as a snapshot of what the mural looked like in its old condition.

To hear more about the mural and its dirty secret, watch the video from Gothamist below.

[h/t Gothamist]

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