This game is based on two of the oldest and most basic play activities known: stacking and balancing. People have been playing with these elements since the dawn of time. Both possibilities – standing up or falling over – can be equally exciting.
The first swing was created when one crossed branch was positioned over another branch. Soon after came the balancing scale, the wheel, the ball-bearing, articulated joints…..
This game helps us recapture our primitive sense of experimentation. The pieces are of seemingly arbitrary shapes such as you might find around a carpenter’s workbench. They are the sort of object that is bound to appeal to any neighborhood child, who is certain to see them as something to build with, owing to the material they’re made from (wood) and their form (random geometric shapes).
The building potential of simple objects is something that not only children, architects and engineers have observed; the first abstract artists were quick to capture the tension produced by the juxtaposition of objects and the way in which a certain concurrence could produce sensations and emotions normally associated with other aspects of our lives. The field of abstract constructivism is really a reversion to the simplest and most fundamental of our childhood games, what we called ‘building something’. Often it was something that we could not put a name to, other times it would be a city or a dragon, which after coming to pieces would be rebuilt as a bridge, a cylinder, a triangle….or simply a lot of pieces scattered around on the floor.
Author: Javier Bermejo. Made by: PICO PAO
25 × 23 × 6.5 cm
– Wooden MDF case.
– Pieces made of MDF
– Cylinders beech wood
Is it an inanimate object or is there something in it that gives it life? Could it be that he reminds us of the messenger boy, the newspaper vendor, the shoeshine or the apprentice of any number of jobs – one who depends on his arms and legs to carry out these menial jobs in order to scrape by? Where does our sympathy for an object come from? Where do our emotions spring from -weak and subtle as they may be – where if not from the emotions of life itself and the spirit that animates it?
Every object contains within itself its own archetype, a link to the time and the world to which it belonged. An old school desk can carry us back in time, evoking countless personal recollections while bringing to life the emotions associated with that particular period of our lives. In the same way, what is today the latest model of a cell phone will, with the passage of time, come to remind us of these days and of the world that created and used it. Objects serve to tell the story - and the history - of the people and the society in which they existed.
What makes the Pentaminos fascinating is its initial simplicity, so different from the ennigmas and problems described below. Unlike a 1000-piece puzzle, which has a single solution, the Pentaminos, while consisting of only 12 pieces, has thousands of possible solutions.
Altogether there are twelve different Pentaminos, each designated by a different letter of the alphabet: (F, I, L, N, P, T, U, V, W, X, Y, Z). Pentaminos obtained by joining others at their axis or by rotation are not considered to be ‘different’ Pentaminos.