Could these trunks have once belonged to a cherry tree, with its shimmering red leaves? Or to an elegant birch tree, nestled close to a mountain stream? In either case, happy little creatures would have been found skittering about under their branches, which would have undoubtedly provided shade for more than one weary, long-forgotten traveler.
When the loggers were done and the echoes of their saws had faded away, all that would have been left was a pile of logs giving off the intense smell of freshly cut wood. In a matter of weeks – after being piled neatly in the back of a truck – they wound up at the saw mill.
Now we are in another place, another time. To make these trunks come to life again and be more than just a thought from the past, we will have to make use of our memory. And we will have to play, the way children do, stacking them and building with them in an utterly natural, instinctual way.
Author: Javier Bermejo. Made by: PICO PAO
18 × 20 × 5.7 cm
Pieces: Beech wood painted.
Case: Poplar wood and MDF wood.
This forest, resembling a bookshelf, includes a wide variety of woods and is made up of 51 pieces, each engraved with the name of the tree that it came from.
The games are limited editions, as they come from the remains of trees that we, together with numerous friends and collaborators, have collected and preserved over time, with a wish to extend their lives. This means that when the wood from one particular tree has been used up, we carry on with that of another tree, making each set and series truly unique.
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.
The cube, an orthogonal parallelepipedic prism of six equal sides, is inextricably linked, from the time of the very first civilizations, to open, inhabitable spaces. For such a simple, sparse and symmetrical shape to achieve any sort of expressiveness there must be some irregularity involved or some relationship with its surroundings.
The vertex, the common point at which two lines converge – or diverge – , is a primordial element in the graphic representation of all kinds of phenomena. It is first and foremost a graphic symbol, one that in its essence is the synthesis of an event. It marks the point where a road separates, where two rivers come together, where one plane ends and another begins, a change of direction, a fold, a dilemma posed by two possibilities, the branching out of growth and evolution, the cross-linking of a plane, the planar deconstruction of a volume, an itinerary for logical reasoning, computational structure, algorhythmic formulation…