LEGO® SET AS a TOOL ENHANCING CREATIVITY in ARCHITECTURE, URBAN PLANNING and DESIGN Armando Garcia Teixeira, Ján Legény, Michal Brašeň
VÝSKUM NAVRHOVANIA LEGO® SET AS A TOOL ENHANCING CREATIVITY IN ARCHITECTURE, URBAN PLANNING AND DESIGN Armando Garcia Teixeira, Ján Legény, Michal Brašeň INTRODUCTION HISTORY OF LEGO® Architecture as a discipline has the inherent The Lego® Brick is a cultural phenomenon potential of overlapping with areas that do with its own history. It was designed in not appear related to its own scope of func- Denmark during the Cold War that followed tions at first sight. Along with town plan- WWII and has since swept the world off its ning, the discipline is closely linked with feet. First patented on 28 January 1958, the mass evaluation, mutual relations of build- use and popularity of the Lego® Group (here- ings’ volumes impacting on the users’ and inafter referred to as “the LEGO Group”) has inhabitants’ everyday life. Contemporary IT grown exponentially through the decades and technologies enable architecture to “material- most likely surpassed the expectations of Ole ise” in virtual space (to be performed in silico, Kirk Christiansen, a bold carpenter of hum- i.e. on computer or via computer simulation, ble beginnings, based in Billund (Denmark). transl. note) but the creative design process In 1932, Ole founded a factory that would calls for the direct connection between the later become the house of Lego and the LEGO hand and the mind – using a “thinking hand” Group, and be led by his grandsons in the whenever one is in need of inspiration, as years to come. Taking its name originally by Juhani Pallasmaa argues.1 The idea is that, by a derivation from the Danish phrase leg godt suspending one’s critical faculties and let- (meaning “play well”), Lego® mainly produced ting one’s hand simply roam free, one’s fin- wooden toys; remarkably, the 1950s famous gers might fashion something unexpected.
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