(单词翻译:单击)
When you imagine a playground, chances are it looks something like this.
当你想象一个儿童游乐园时，你很可能会把它想象成这样。
There’s usually a slide, a bridge, and a high point with a domed roof.
通常带有一个滑梯、一个桥和带圆顶屋顶的天棚。
That’s what makes this a playground, and this, and this.
这也是这个，还有这个，这个游乐园的样子。
But what about this?
那这个呢?
This isn’t a junkyard. It’s called an adventure playground.
这不是垃圾场噢。它叫“探险游乐园”。
Here, there are no plastic play structures – just things like old tires, wood planks, hammers and nails.
这里没有塑料游乐设施，只有旧轮胎、木板、锤子和钉子。
Places like this represent one of the most debated ideas in play architecture:
这样的地方代表了关于游乐设施中最具争议的观点之一：
that playgrounds should be designed to let kids take more risks.
即设计游乐场的时候应该考虑让孩子们多承担一点风险。
Now, this nightmare for helicopter parents is the hottest new thing in American playgrounds,
现在，这种堪称“直升机父母”的噩梦的游乐园是美国游乐园行业最热门的新事物，
because there’s growing evidence that play like this is a whole lot healthier — and safer — for kids.
因为越来越多的证据表明，对孩子们来说，这样的游戏其实才是更健康、更安全的。
"They can play with very dangerous tools, they can take really dangerous risks and overcome them.
他们是可以玩非常危险的玩具，冒比较大的危险并克服那些危险的。
And this fills up a tremendous sense of self confidence in themselves, which is really quite fascinating to watch."
这种游戏方式会极大地增强他们的自信心，这样的情形是很吸引人的。”
That’s Marjory Allen.
这位是玛乔丽·艾伦。
She was a British landscape architect and children’s welfare advocate around the middle of the century.
她是上世纪中叶英国的一名景观设计师兼儿童福利倡导者。
In 1945, she visited Copenhagen, where she met an architect named Carl Theodor Sorensen.
1945年，她访问了哥本哈根，在那里她遇到了一位名叫卡尔·西奥多·索伦森的建筑师。
Two years earlier, during the German occupation of Denmark, Sorensen noticed a problem:
而两年前在德国占领丹麦期间，索伦森注意到了一个问题：
kids in his neighborhood weren’t using playgrounds.
他家附近的孩子都不会去游乐园玩儿。
In fact, they were playing just about everywhere else — even in construction sites and bombed out buildings.
事实上，他们几乎会到其他任何地方玩耍——甚至是在建筑工地和被炸毁的建筑物里，就是不去游乐园玩儿。
So in a housing development in the suburbs of Copenhagen,
因此，在哥本哈根郊区的一个住宅开发项目的地盘上，
Sorensen closed off an empty lot and filled it with building materials, discarded objects, and tools.
索伦森圈了一片空地，在上面放满建筑材料、废弃物品和工具。
Here, kids could dig, build, and invent on their own.
在这片地方，孩子们可以自己挖沟、搭建，搞发明。
The play structures were ultimately designed by the kids themselves.
游乐场最终的模样就是孩子们自己设计的。
Sorensen called it a junk playground — and kids and parents loved it.
索伦森称它为“垃圾游乐场”，不料孩子们和家长们都很喜欢。
When she returned to England, Marjory Allen started opening similar playgrounds across London.
回到英国后，玛乔丽·艾伦开始在伦敦各地开设类似的游乐场。
And she renamed them: from junk to adventure.
还重新给它们起了个名字：垃圾变冒险。
From there, they became a global phenomenon.
从此，这种游乐场逐渐在世界各地推行开来。
They spread to Minneapolis, Boston, Toronto, Tokyo, Houston, Berkeley, Berlin.
传播到了明尼阿波利斯、波士顿、多伦多、东京、休斯顿、伯克利还有柏林。
And to create these playgrounds, designers had to introduce a critical element: Controlled risk.
要修建这种游乐场，设计师必须引入一个关键的设计因素：控制适当的风险。
In this context, a risk isn’t the same thing as a hazard，
就这件事而言，风险并不等同于危险。
When you’re climbing a tall tree, a rotten branch is a hazard: the threat is unexpected.
当你在爬一棵很高的树时，一根枯枝算一种危险：因为它给你带来的威胁是你没办法预料到的。
But how high you climb is a risk: it’s manageable, and requires you to actively make a decision.
但你爬的高度则算一个风险：它是可控的，需要你主动积极地做出决定。
You can break the elements of controlled risk down into six categories:
我们可以把控制适当的风险分为六个要素：
heights, speed, tools, dangerous elements, rough and tumble play,
高度，速度，工具，危险的元素，扭打游戏，
and the ability to disappear, or become lost.
以及消失或迷失的可能性。
And a good adventure playground includes a mix of these.
一个好的冒险乐园将涉及上述这些因素的一个综合。
Designers also focus on separation of space.
设计师也要注重空间的分隔。
To give kids the feeling of discovering things on their own, parents have to stay out.
为了给孩子们制造一种自己发现事物的感觉，就要让家长们呆在外面。
That can mean installing a physical barrier —or providing things like restrooms, cafés, and seating,
这可能就意味着要设置物理屏障，或者提供卫生间、咖啡馆或座位之类的设施，
so that parental experience isn’t an afterthought.
这样，父母就不至于只能事后体验了。
