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]

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The Tallest Cemetery Monument in New Orleans Was Built Out of Spite

baldeaglebluff, Flickr // CC BY-SA 2.0
baldeaglebluff, Flickr // CC BY-SA 2.0

Spite has motivated many construction projects, from a 40-foot-tall fence in California to an 8-foot-wide home in Massachusetts. But when it comes to pettiness, few structures can beat Moriarty Monument in New Orleans's Metairie Cemetery. Reaching 80 feet high, the memorial to Mary Moriarty was an excuse for her widower to show off his wealth to everyone who rejected him.

New Orleans is famous for its cemeteries, which feature above-ground mausoleums. The soil in the region is too wet and swampy to dig traditional 6-foot graves, so instead, bodies are interred at the same level as the living. The most impressive of these graveyards may be Metairie Cemetery on Metairie Road and Pontchartrain Boulevard. Built in 1872, it lays claim to the most above-ground monuments and mausoleums in the city, the tallest of which is the Moriarty Monument.

The granite tomb was commissioned by Daniel A. Moriarty, an Irish immigrant who moved to New Orleans with little money in the mid-1800s. It was there he met his wife, Mary Farrell, and together they started a successful business and invested their new income into real estate. The couple was able to build a significant fortune this way, but Moriarty struggled to shake off his reputation as a poor foreigner. The city's upper class refused to accept him into their ranks—something Moriarty never got over. After his wife died in 1887, he came up with an idea that would honor her memory and hopefully tick off the pretentious aristocrats at the same time.

By 1905, he had constructed her the grandest memorial he could afford. In addition to the towering steeple, which is a topped with a cross, the site is adorned with four statues at the base. These figures represent faith, hope, charity, and memory, while the monument itself is meant to be a not-so-virtuous middle finger to all those who insulted its builder.

Gerard Schoen, community outreach director for Metairie Cemetery, told WGNO ABC, “The reason Daniel wanted his property to be the tallest was so his wife could look down and snub every 'blue blood' in the cemetery for all eternity." More than a century later, it still holds that distinction.

[h/t Atlas Obscura]