(Warning: spoilers ahead) At first, I was a bit disappointed. Watching the opening sequences of the new Lego Movie, with the mammoth Bricksburg Freeway snaking through the city and tall Corbusier-style skyscrapers looming over the Lego-scape, it is truly an impressive creation. However, it reinforces decades-old ideas about urbanism which are proving to be automobile-centric, harmful to pedestrians, and unsustainable. Is this truly a vision of an utopian city?
There is hope however, in that our ordinary hero Emmett takes the time to greet his neighbours on his way out of his apartment, and the city appears to be bustling with activity – people of all demographics walking throughout the downtown to various shops and places of work, reminiscent of Jane Jacobs’ famous “sidewalk ballet”. The elevated rail mass transit system (all jokes about monorails aside), is bursting with people. And even the traffic on the congested roads and freeways is flowing (perhaps they have successfully implemented congestion pricing in Lego-land).
There were some points glossed over, of course. Emmett is inexplicably able to easily find a curbside parking space right near his place of work (and does not appear to pay for it), which would be a certain fantasy in such a busy city. Sprawling surface parking lots and imposing parking garages, so common in automobile-dependent cities such as Bricksburg appears to be, are conspicuously absent. And none of the Lego vehicles run on fossil fuels, or generate air pollution.
As the movie nears its conclusion, a possible explanation appears. Bricksburg exists in our human world, where a father has created it as the “perfect” city, created according to the provided instructions and not to be altered in any way. His son mixes and matches different Lego sets, develops characters, and allows creative, spontaneous interaction and exploration which is utterly at odds with the static, prescribed nature of the existing Lego sets.
It reinforces the struggle between old, conservative ideals of the city as a place for automobiles and massive buildings and infrastructure, contrasted with a progressive vision of the city as a creative space primarily intended for people. As the father eventually embraces the more progressive, creative ways of his son, there is a tacit acceptance of a more enlightened style of urbanism (albeit in just one dimension: people-centred).
And given the movie’s underlying thematic importance of “thinking for yourself”, perhaps this is an encouraging sign that regardless of our preconceptions, we can move toward exploring livelier, more progressive, and healthier cities.