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The inclusive factory

Award category
Prioritising the places and people that need it the most
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NEW EUROPEAN BAUHAUS RISING STARS: concepts or ideas submitted by young talents (aged 30 or less)
Project title
The inclusive factory
Full concept/idea title
The Inclusive Factory : a playful way to act for greener educational spaces

The schoolyard is an essential factor in the learning of children. It influences their way of understanding their environment and people around them. The Inclusive Factory is a playful way to vegetate schoolyards by implanting cork games and changing temperature of educational spaces. Children build their play-spaces with plants thanks to the help of others in order to see playgrounds as inclusive co-constructive ecosystems. A pedagogy open to creativity and observation towards the outside.

What is the geographical scope of your concept/idea?
Does your concept/idea address mainly urban or rural issues?
Mainly urban
Does your concept/idea refer to a physical transformation of the built environment or other types of transformations?
It refers to other types of transformations ('soft investment')
Has your concept/idea benefited from EU programmes and/or funds?
Has your concept/idea won an EU prize?
How did you hear about the New European Bauhaus Prizes ?
Word of mouth (colleagues, friends …)
On whose behalf are you submitting the application?
As an individual in partnership with other persons
Please provide a summary of your concept/ idea

The Inclusive Factory is for children a way of regaining a sense of belonging with nature thanks to a life-cycle pedagogy. By greening schoolyards in Paris, we realize that it can be extend all over Europe. A concrete way to prioritize neglected places thanks to real inclusion through play. The schoolyard appeared to be an important factor in the development of the child, a place where he meets others. It also allows supervisors to get to know children differently, in particular their creative strength and their way of apprehending the world. The work of the psychiatrist Fernand Deligny as well as the Anji Play Method implanted in Asia guided our approach of making schoolyards more inclusive and sustainable. Playing is now a set of choices, cooperation, risk-taking. Here the act of construction is perceived as a liberating act, language and anxieties, a way for the child to appeal to the intelligence of his imagination.

We have therefore designed a language system using school material resulting from the recovery of the school system. Usually a strict environment, the schoolyard will be deconstructed by children thanks to cork units we made, material ecologically resilient and suitable for outdoor use. Each cork unit has a neutral aesthetic, functioning as an alphabet of shapes in space. They can be associated with each other, raising them to an empowering scale. It is through this language system and this neutral aesthetic that school materials will take on a new dimension for children. Once these elements are put between children’s hand, the schoolyard becomes a fantastic problem to solve. A tolerance appears, we make mistakes during play time, we bicker, we start again. The game is intended to be inclusive, cooperation, risk-taking. Here the act of construction is perceived as a liberating act, language and anxieties, a way for the child to appeal to the intelligence of his imagination. Through play, the yard adapts and evolves to the rythm of children.

Please indicate the main themes of your concept/idea with 5 key words
Please give information about the key objectives of your concept/idea in terms of environmental sustainability (including circularity) and how these would be met.
Please highlight how the concept/idea can be exemplary in this context

The schoolyard is an essential factor in the learning of children. It influences their way of understanding their environment and people around them. This neglected space has a real impact on the construction in the collective imagination of a young audience, especially in urban environment. Our project entitled The Inclusive Factory puts children in an active position : it offers them possibilities to act on their own environnement, a playful way to vegetate schoolyards by implanting cork games on trees and grass. The aim is to reduce heat and water accumulation during soil flooding. Schoolyards are much more than just a place to relax. They may trigger thought on how body activity reacts facing nature. Children start considering vegetation as evolving elements and not just forms of decoration. The Inclusive Factory has been thought to be installed in most schools as it adapts easily to different soils. Children build their play-spaces with plants  thanks to the help of others in order to see playgrounds as a co-constructive ecosystem. Cork games unit are an adaptable pedagogy available to schools. It’s a high potential material for them : fire-resistant and rot-resistant. A source for playful construction thanks to its strength of resilience, its resistance to impacts and its sound isolation capacity. Cylinders are recovered directly from factories and then cut in 4 lines and made into 9 pieces. These cylinders are then sent to schools which adapt them to their own equipment, The production of cork is a 100% natural, obtained by the debarking of cork oaks in Europe, its thermic compression allows minimal material loss. Suberin, the resin of trees, acts as a natural binder which agglomerates the granules, allowing large volumes, resistant and yet light and deployable in space by children. All schools have a school equipment recovery system. To improve this circular economy The Inclusive Factory re-uses chairs, benches, stools and mats thanks to cork modules.

Please give information about the key objectives of your concept/idea in terms of aesthetics and quality of experience beyond functionality and how these would be met.
Please highlight how the concept/idea can be exemplary in this context

Cork modules of The Inclusive Factory are real language elements permitting the expression of oneself in space. The aesthetics of these modules are simple and minimalist in order to achieve a most universal application. Curves fit together and stand out to create some complexity in games. Here, construction is perceived as a liberating activity, liberator of language and anxieties, in tribute to Places of Life set up by Fernand Deligny, French psychiatrist specialized in mental disorders in children and adults.  The Inclusive Factory allows inclusion and builds up confidence through creative communication: children perceive their schoolyard as a new microcosm appealing to their intelligence. Each module can live independently or by assembly. Assembling cork pieces with school equipment makes the building up of real structures possible. In a monumental vision, the size of the cork pieces is important. Their volume is an essential socializing factor that encourages children to call on others in order to build the construction they desire together. This monumentale scale adapts to schoolyards as much as to children. It elevates them to a responsible scale at the same time. Cork volumes are encompassing and sonorizing. In this cacophony each element finds a special place it is connected to the outside by cork elements. Thus stools and even benches take on new uses. School equipment supports a new imaginary. Benches become bridges, stools become places where the child can reach his imagination, rise and take full place in the schoolyard. Even chairs, become instruments he can manipulate and communicate with in game situations. The aesthetics of The Inclusive Factory is scalable: it fits according to climate and children moods, evolves faithfully to the rhythms of the children occupying it. This alphabet of signs is a sort of philosophy, educating the eye to tolerance, true poetry of chance and freedom.

Please give information about the key objectives of your concept/idea in terms of inclusion (equal opportunities, public participation, citizen engagement, co-design, universal design, accessibility, affordability, etc.) and how these would be met.
Please highlight how the concept/idea can be exemplary in this context

This constructive system promotes the inclusion of children. It allows them to use their creative imagination through spaces. The Inclusive Factory gives everyone the freedom to approach the game in its own way, adapting  spaces to different children. It is a caring and trusting way for adults to look on children. The size of modules and constructive principles engage children to cooperate. They move, assemble, construct and play together : there’s a real encounter between children and their imagination. Adults can see how they approach their school space : risk is perceived  as important and positive here.  Trust allows children to fully express themselves, in their apprehension of space and relationship with each other. The courtyard and construction becomes a challenge to solve , appealing  to their intelligence and imagination. Thus to trust is above all to restore confidence to children in their way of being creative. Mixing neutral cork shapes with normalized objects such as school material creates a tension in creation. This tension allows children to start from their everyday environment: their school world, for example. Language is freed through the volumes the child conjugates in his own way. Adults can decrypt this constructive language. The child’s also included in this constructive act, both observer and actor.

Please explain how these three dimensions would be combined in your concept/idea.
Please highlight how this approach can be exemplary

The Inclusive Factory builds spaces of transition children need to grasp. They can differ from one school to another and question on evolving environment. The systems are replicable and  do not enclose the space in a closed use. The space must be an opening , not limiting the imagination, abling its transformation (heterotroph).  In the midst of an ecological transition, spaces are being renewed. The Inclusive Factory accompanies this transition ; it makes children pay attention to the environment around them and the elements that make it up.  Neutral elements educate the eye to tolerance: we make mistakes, start again, ask for help, bicker. The child is not afraid to answer the questions he has asked himself . This tension between the elements frees the imagination and creates a new alphabet, a new language through creation. This aesthetics revaluing elements in a circular economy already well established, calls on the recovery of school elements, teaches to see the potential in objects or subjects , potential that seemed frozen in their forms and in their uses. The cork industry exploits most of the quality of cork, especially the fact that it can be retransformed using a minimum of chemical material. In its production the life cycle of the tree is respected, several debarking is carried out to the integrity of the tree, the cork is ground and frozen in a natural way thanks to the resin it contains. Between transition, tolerance, liberation of the imaginary and development of the exist and the cycle, The Inclusive Factory aims to build the adults and actors of the world of tomorrow at the scale of the schoolyard.

Please highlight the innovative character of the concept/idea as compared to mainstream practices in the field of the concept/idea.

Schoolyards and games, places and means to let off steam. Fixed games, nailed to the ground and immutable, all set to inhibit the least risk.  That ‘s why The Inclusive Factory invites children to take these elements out of the ground, unearth their imagination. Moreover, this overfixation of elements makes it very expensive  to change a degraded element. The Inclusive Factory wants to put trust into the child, not locking him in a specific game but guiding him. It appeals to the benevolence of adults. Unlike in usual schoolyards where each play area is pre-limited,  here the children delimit their own space, revealing the areas they like or not, as well as the space where  fantasy and imagination confront each other to end up agreeing or not. We see the schoolyard as a great study ground for children as well as for their supervisors. 

Please detail the general plans that you have for the further development, promotion and/or implementation of your concept/idea.

Talking about design as a mediator is essential in order to concretize this new pedagogy of greening playful spaces. The concrete production of cork games can be carried out in Portugal, Italy and France, then set up in schools interested in inclusive pedagogy. School systems in Europe are managed internally by municipalities, in France and for European countries, primary schools are usually taken over by municipal administration. They gather failing school equipment, make them available to other schools of the municipality. Thus this vision is applicable on a European scale because each city has its own functioning in terms of resources and educational facilities. The City of Paris thanks to the mayor has guided us in concrete development through the mediation of school management teams. The promotion of the project is done through active mediation within school directorates, schools and European towns. The administration is responsible for linking the inter-school facilities. The essential thing is to be in contact with actors of this new pedagogy by meeting school teachers, school companions, parents and children. By achieving more conferences to achieve concrete implementation. The Inclusive Factory can easily be adapted to international scale. The European scale is practically conceivable through free initiative and the sharing of the Inclusive Factory concept ; the implementation is feasible, at the local, departmental and finally national level.

Imagine that your idea/concept is awarded in the New European Bauhaus Prizes 2022. What kind of initiatives would you take throughout the following year (June 2022- June 2023)

Winning the approval of the New Bauhaus would allow a real impulse in a desire to make school spaces greener. An essential awareness on the implementation of more inclusiveness. This European approval allows the Inclusive Factory to position itself through a radically committed pedagogy. Values of the project once supported, go beyond the concretization phase. The implementation of the project in French school courses is our first step : Paris, Strasbourg, Lyon and other big French cities. The next step of The Inclusive Factory after spreading  its field of action on a a national scale, is European. Mediation is essential to share this playful, environmental and inclusive vision. By sharing our experience of French schools, it is interesting to introduce the Inclusive Factory on a larger scale, through inter-school partnerships in the first place. Since Paris City Mayor has already encouraged the project, the administration can make the link with other European City Mayors, such as Berlin, Madrid, Lisbon and many others. By means of conferences and direct contacts to the communes, it is possible to spread this inclusive pedagogy abroad. The other European metropolis are in demand for reinvestment of their schools. The Inclusive Factory allows a location in most schools  by its economical accessibility  . The main thing is to take the philosophy of the project and its poetry outside French schools and offer it to European schools,  thus promoting equality of opportunity through inclusion and raising awareness of vegetation at an early age.  During this emergency time, The Inclusive Factory is directly applicable, by the ease of the technical means to be used. It allows a reflection on the long term by an awareness of several generations evolving in Europe. 

By ticking this box, you declare that you are not in in one or more of the exclusion situations foreseen under Article 136 of the Financial Regulation.
By ticking this box, you declare that all the information provided in this form is factually correct, that you assume sole liability in the event of a claim relating to the activities carried out in the framework of the contest, that the proposed concept/idea has not been proposed for the New European Bauhaus Prizes 2022 in any other category or strand and that it has not been subject to any type of investigation, which could lead to a financial correction because of irregularities or fraud.
By submitting your application, you guarantee that you are the author or have the rights to proceed with the application and to authorise the use of the project, concept, idea, and that you have obtained any necessary consents, licenses or assignments from third parties and included copyright notices when necessary.
By submitting your application, you understand that all the applications that meet the eligibility requirements will be shared for the purposes of the selection processes, and notably published on the secured platform and for the purposes of the promotion of these on the New European Bauhaus website and/or other European Commission communication channels. In this sense, the applications would be widely available. Applicants should ensure that they present their ideas, concepts, projects, in such a way that they could be shared without giving rise to intellectual property related concerns. If your submission is selected as one of the finalists, it will additionally be shared for the purpose of the public vote that will take place. The European Union is granted a licence to use and share your application with the general public and the official external experts for the purposes of the selection process, including the voting. The European Union has the right to use the images and visual materials and the description provided in the application for communication purposes related to the contest and beyond. Rights granted comprise the right to store, reproduce, display, publish and communicate or distribute copies in electronic or digital format, including, but not only, through the internet. Unless you have disclosed your name, the European Commission has no obligation to share your name when using or disseminating your contribution to the public. The European Union cannot be held responsible in case any submitted idea, project, concept is found to infringe third parties rights. The European Union shall be neither responsible for the use that third parties may do of the applications or related content.


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