The Art of Castle Building: Turning Fantasy Into LEGO Reality

Today’s guest article comes from Juan Rodriguez Lopez, a builder living in the Seatle area who has mixed his passion for architecture with his love of LEGO bricks. He shares his entire process of designing custom castles from concept to creation to instructions.

A Fortress and a Foundation

Ever since I was a kid, I’ve been a bit of a castle nerd. Castles were endlessly fascinating to me—grand structures full of mystery, always perched on towering hillsides, watching over vast kingdoms. And sometimes, they even held a touch of magic! It’s no wonder that my favorite LEGO set growing up was the Fire Breathing Fortress (6082). That childhood love of castles stuck with me, and now, as an adult, it’s woven itself into my LEGO world.

The spark to create my own LEGO fantasy models came with the release of the Mini Disney Castle (40478). I was drawn to it immediately, but I couldn’t help noticing that the back of the model was a bit plain. The real Disney World castle is captivating from every angle, and it felt like a missed opportunity not to capture the entire structure.

While I understood why LEGO made that design choice, it still felt like something was missing—so I decided to open Studio and build the rest myself. That first challenge wasn’t easy, but once I’d finished, I realized just how much I loved the process and knew I wanted to design more!

The question was, which castle to tackle next? For me, the answer was in the fantasy worlds that I enjoyed as a kid. Finding a personal connection makes the journey much more enjoyable, especially during the tough spots when I hit a creative block and feel like calling it quits. Passion fuels perseverance, and that connection proved quite handy during the design process.

A Story of Scale

Once I’ve chosen a castle, my next step is figuring out which elements will be the trickiest to build in LEGO form. I always start with those because if I can sort out the challenging sections first, the rest tend to fall into place. When designing, I’m constantly focused on creating something that is visually compelling. My goal is always a complete 360-degree design, with each facade—front, back, and sides—beautifully detailed.

I want the castle to feel intentional from every angle so that no matter where you view it from, the design feels thoughtful and immersive. The attention to detail on all sides really brings the castle to life as a display piece.

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This approach, however, is easier said than done. Recreating an existing building is one thing, but designing one by relying solely on drawings and 2D media is another challenge altogether. That was exactly the case with my second model: Beast's Castle from Beauty and the Beast.

For this one, I expanded my sources of inspiration to include theme park miniatures and porcelain souvenirs. Yet, even with this broader search, certain parts of the castle remained hidden. These gaps became the perfect opportunity to unleash my imagination and creativity, allowing me to fill in the blanks. I confess I got a little carried away, and pretty soon the model was bigger than I had originally intended.

Planning each model’s dimensions is where things get interesting. At first, I thought I could stick to a standard size for every build to make the collection feel cohesive. But I quickly realized that wasn’t practical. Each castle is unique, and a one-size-fits-all approach just doesn’t work.

Now that I have finished my fourth model, I think somewhere around 24x24 studs is the sweet spot, though that shouldn’t be a strict limit—every castle is different. Agrabah Palace, for instance, needed a bit more room sideways in order to capture its distinctive look.

Nothing impacts size more than scale. Deciding on scale requires another level of consideration because, in their original worlds, some castles are quaint while others are massive. Even if two models have the same dimensions, the scales may vary dramatically. Striking the right balance between size and scale is what makes each castle work on its own, while still achieving my original goal of forming a cohesive collection.

One thing I’ve learned is that good detailing is not necessarily dependent on using a larger scale for the models. Great detail can be achieved at any scale— something I learned on my next build!

Strategy Game

My third model was Alexandria Castle, from the beloved RPG video game FINAL FANTASY IX. Once again, when looking for my next project, I turned to the stories that left the biggest impressions on me growing up.

This was my first role-playing video game and one of my all-time favorites. Alexandria is the quintessential medieval kingdom, and the castle is host to some of the most important events in the game. In short, it was a no-brainer, and I set to work immediately.

But my choice of project is not just driven by emotion—some strategy is involved! For instance, I think about the colors in the source material and how those might translate into the available LEGO colors. As models get added to the collection, I want to make sure that each is bringing something unique to the mix, and color is one of the more impactful ways to make a statement.

Alexandria Castle is, in many ways, a great foil to the Beast’s Castle. Whereas one model showcases warm, reddish, and gold tones, the other uses cooler blues combined with gray and silver tones. This immediate contrast was a big selling point for me!

Additionally, despite almost having the exact same dimensions, each model’s scale is wildly different. Alexandria Castle is easily several times the size of Beast’s Castle. Capturing such a large structure as a LEGO model required that I design using a smaller scale. To my surprise, this also led to a smaller overall piece count—roughly 700 fewer pieces than what I needed for Beast’s Castle!

Which brings me to the second thing I’ve learned about my own building process: the bigger the scale, the more LEGO parts I end up using. A bigger scale allows me to include more details, typically by using smaller LEGO parts—a lot more of them. This is the aspect of the process that I struggle with the most. On the one hand, I want the models to be highly detailed; on the other hand, I want them to be accessible. Finding the right balance isn’t always easy, but after going through the process four times now, I have settled on 1,500 pieces as a soft limit.

Welcome to Agrabah

My latest model is an expansion of the Mini Disney Palace of Agrabah set (40613). I felt the official LEGO version didn’t fully capture the grandeur of the movie version, so I decided to enhance it. This time, the process was smoother, as LEGO had already provided a solid foundation to build upon. I immediately knew I wanted to increase the model’s scale, starting with the largest component: the central tower. My goal was to design a larger golden dome, allowing me to scale up all the towers proportionately.

Additionally, I aimed to accurately represent Jasmine’s balcony as a three-dimensional feature instead of relying on a flat sticker. This led to the creation of multiple study models, where I explored different techniques to achieve the desired look. The challenge not only let me flex my creative muscles but also transformed the design process into an exciting puzzle.

Once I was satisfied with the design, I proceeded with the rest of the model. If I’m working from an existing LEGO set, as I was with Agrabah, I always look at the list of pieces used in the original version.

The next step is to import these parts into Studio and lay them out in a grid. This organization helps me to understand what parts I already have at my disposal, ensuring I can utilize as many of those existing pieces as possible in the new build.

Once I have a grasp of the resources available, I start designing the castle. I kick off with a sketch model—basic and blocky shapes that focus on proportions and major components. Most castles can be broken down into sections, and I take care to explore how those sections relate to one another.

The sketch model is an iterative process; I might go through as many as twenty versions, refining it each time. For instance, one iteration could focus solely on the front façade, adding details to create depth and texture. This meticulous process continues for each section until I have fleshed out the majority of the details.

Throughout this iterative process, I save different versions of the model. This not only allows me to revisit previous ideas but also provides insight into the evolution of my design. Some explorations don’t yield the desired results, but every experiment is essential to discover what truly works.

As I worked on Agrabah, I made it a point to incorporate familiar spaces that appear in the original films, adding authenticity and emotional weight to the model. The first key feature was the garden where we first met Princess Jasmine. With its large fountain and twin aviaries, it’s an instantly recognizable location, making it essential for the model. Next, I included the covered water garden, home to a large contingent of flamingos, as well as being the scene of a pivotal moment in the story— in which the villains steal the magic lamp.

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I also looked to the sequels for inspiration. In The Return of Jafar, Aladdin is captured and taken to a striking tower, high up in the Palace, to face execution. This area stood out to me as distinctly unique, and I knew I had to feature it in the model! Finally, I made sure to include the throne room; I even designed the central tower to be removable, allowing viewers to peek inside and appreciate the interior details.

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Inventory and Instructions

After finalizing the sketch model, I pivot to the next step: figuring out how to connect all the pieces and ensure the model is structurally sound and sturdy. My priority is to create a model that is not only visually appealing but also manageable to construct. This stage was particularly important for Agrabah, as I needed to determine how to incorporate all the original pieces while identifying what new parts I had to order.

I like to keep things simple when it comes to sorting out the pieces I already have versus the new ones I need to get. In Studio, I change the colors of the existing pieces to bright, unconventional shades, making them easy to spot. This technique helps me keep track of everything effortlessly. For the new pieces, I stick to the intended final colors. While I can’t always use every piece that I already own, I usually find a way to include a good number of them.

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After completing the design, I save a separate version of the model and remove all the existing parts from the official set, which I’ve marked with unconventional colors. This process leaves only the new pieces, allowing me to export those and create a comprehensive parts list. With this list on hand, I can start ordering parts, either through LEGO’s Pick a Brick service or BrickLink.

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While I wait for the new pieces to arrive, I shift my focus to creating the instruction manual—a demanding but necessary step in the process. Managing the model effectively during earlier stages pays off significantly here; the order in which pieces are assigned to each step is crucial for clarity. Interestingly, creating the instruction manual starts long before I lay out the pages. As I design the model in Studio, I arrange the pieces according to their construction sequence, ensuring the castles are built from the ground up. This foresight helps to streamline the instruction-making process later on.

Once I finish the first pass through the manual, I use it to build the model for the first time. This practical application allows me to identify any inconsistencies or areas for improvement in the instructions. It’s essentially my first round of quality control. After that initial build, I refine the instructions based on what I’ve learned—this might involve changing the order of construction or adjusting the angles of images for better clarity. Clear instructions are crucial to ensure that others have a positive building experience.

For Agrabah, I also decided to include a little backstory about my inspirations on a few key pages. This addition fosters a deeper connection between builders and the model, showing that a lot of care and thought went into the design.

Sharing a Labor of Love

Completing a model is always exhilarating! Building it for the first time brings a rush of excitement as I see my vision come to life. Since these models are designed for display, the quality of construction and aesthetics is paramount. Each model is complex, requiring many parts, and I want to ensure it looks stunning from every angle.

Of course, sharing my designs online has its challenges. Occasionally, some people will take my instructions and profit from them, which is disheartening. I knew this risk existed when I decided to share my work, but I’ve made my peace with it. I want people to enjoy these designs; I’ve purchased instructions from other designers myself, and the community’s ability to share our passion is invaluable. The good certainly outweighs the bad, and seeing others appreciate my work makes it all worth it.

As I continue to build and share my models, I remain committed to creating engaging, intricate pieces that capture the magic of the castles that inspired me in the first place. Each build is a labor of love, and I hope they inspire others to explore their own creative journeys in the LEGO world.

You can see more of Juan Rodriguez Lopez’s work on Instagram and get the instructions for all of these castle models on his Rebrickable page.

Have you ever made a MOC you intended to create instructions for and share publicly? Let us know in the comments below.

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