
Under the covers of LEGO’s Fender amp and Atari console
One model opens onto tubes and wiring; the other opens onto a room. Each offers a different answer to what belongs inside a replica.
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One model opens onto tubes and wiring; the other opens onto a room. Each offers a different answer to what belongs inside a replica.
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Two Ideas sets use a group of figures as their subject. One ensemble depends on fixed relationships; the other leaves room for substitutions.
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The Orient Express puts its staff and passengers behind removable roofs. The Crocodile locomotive leaves its most revealing movement down by the rails.
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LEGO marked the Orca’s release with a miniature film. The screen and the shelf put very different jobs in the hands of the audience.
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Steve Guinness’s typewriter accepts a real page. The Polaroid supplies its own pictures. Those choices change what each machine asks its owner to do.
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A spare wheel, a winch and a set of traction plates each suggest a different kind of trouble ahead for the little green Land Rover.
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Two controls let a builder decide when Yoshi takes a stride and when he sticks out his tongue in LEGO’s Super Mario World display.
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Three lit compartments carry Harry through his school years. The fourth scene gives his place on the departing train to his son.
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For Disney’s centenary, the London artist built a window tall enough for a family to stand beneath. Her own children placed the last bricks.
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Oceanus takes the central arch in set 21062. A much smaller basin at his side brings a different Roman story into the model.
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A launch photograph sets two glass vessels on a windowsill. Their different shapes explain one of the most consequential choices in set 10313.
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Designer Stijn Oom had a life-size reference from Amsterdam and a material the painter never used: a petal that casts its own shadow.
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Given two copies of the same modular set, a fan builder widened the street, enlarged a kitchen and found a difficult new spot for the chimney.
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Seventeen extra elements let builders choose a foot. The launch artists went further, testing how much of the sneaker could change while its outline held.
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Designer Samuel Tacchi gave the Technic superbike a place to stand while its engine was still exposed. That decision changed how a builder could approach the machine.
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