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Ball-Nogues Studio - Maximilian’s Schell [Materials & Applications, 2005]
I’ ve already discovered Ball-Nogues browsing Archinect. It’s a integrated design and fabrication studio formed by Benjamin Ball and Gaston Nogues from Los Angeles. The goal of the studio is to create experimental built environments to enhance and celebrate the potential for social interaction through sensation, spectacle and physical engagement.
Below one of the best project firmed by Ball-Nogues, the “Maximilian’s Schell”: an impressive temporary outdoor installation in the Los Angeles exhibition space of Materials & Applications, warped the flow of space with a featherweight rendition of a celestial black hole.
Hovering over M&A’s courtyard, Maximilian’s Schell was a spectacle the size of an apartment building constructed in tinted Mylar resembling stained glass. The piece functioned as a shade structure, swirling overhead for the entire summer of 2005. The interior of this immersive experimental installation created a beckoning outdoor room for social interaction and contemplation by changing the space, color, and sound of the M&A courtyard gallery.
During the day as the sun passed overhead, the canopy cast colored fractal light patterns onto the ground while a tranquil subsonic drone from the integrated ambient sound installation by composer James Lumb entitled “Resonant Amplified Vortex Emitter” lightly rumbled below the feet of the viewer. When standing in the center or “singularity” of the piece and gazing upward, the visitor could see only infinite sky. In the evening when viewed from the exterior, the vortex glowed warmly while both obscuring and allowing glimpses of the building behind it.
The assembly paid homage to a character played by actor Maximilian Schell in Disney Studio’s forgotten sci-fi adventure The Black Hole. Dr. Reinhardt is a visionary tyrant on a monomaniacal quest to harness the “power of the vortex” and possess “the great truth of the unknown.”
An integration of structure and skin, the vortex behaved as a “minimal surface”: prestressed, always in tension, yet definable mathematically. Its lineage is in the soap film surfaces modeled by Otto in the 1950s and ’60s; a process now typically accomplished using software that performs “finite element” calculations. After receiving hand sketches and computer models made by the designers, membrane engineer Dieter Strobel digitally crafted and refined the minimal surface model. He quickly and precisely manipulated it during the “form-finding” process while accounting for the distorting effects of gravity and enabling the finished vortex-shaped canopy to be in tension everywhere across its top surface. This gave it a pure and smooth appearance, especially when viewed from the exterior. Seen from the interior, the piece resembled an enormous transparent flower with its petals lightly draping and curling downward with gravity.
All the rest about Maximilian’s Schell installation!
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A Ball-Nogues Studio project selection below. Enjoy!
Ball-Nogues Studio - Unseen Current [Extension Gallery, Chicago 2008]
Unseen Current is a navigable billow of fog flowing through Extension Gallery. Three thousand hanging strings or “catenaries” totaling 10 miles in length span between the walls of the gallery in precise arrangements. From a distance, this three dimensional array of catenaries suggests a surface or volume; upon moving to its center, it evokes a rolling fog. To this end, custom software was developed to explore the form of (and generate the plans for) the project. Like a pointillist painting in space inspired by the smoggy sky of Los Angeles, the color of the installation gradates from a rich orange to sky blue.
Architect Philip Johnson’s ethereal hanging-chain window treatments at the Four Seasons Restaurant in New York also served as inspiration for the project. Ball-Nogues “sample” what was essentially a two dimensional decorative motif for Johnson then reinterpret it for their three dimensional modulations in the gallery.
Ball-Nogues Studio - Rip Curl Canyon [Rice University Art Gallery, 2006]
Rice Gallery commissioned this installation in collaboration with The Museum Fine Arts in Houston exhibition, The Modern West: American Landscape, 1890-1950. When the Gallery director mentioned a Modern West tie-in before we had settled on an approach to the project we realized that the notion of landscape and geological phenomena dovetailed with our design for Tiffany and Company’s Frank Gehry Jewelry Launch Gala on Rodeo Drive in 2006.
In the Tiffany project, the jewelry maker’s “body as landscape” ad campaign informed our approach to creating laminated cardboard walls and ottomans. At Rice, we expanded the potential of constructing landscapes in cardboard to include the viewer’s physical participation.
We invited visitor exploration by extending the casual social terrain of the campus into the gallery, transforming it into a traversable rolling playground. On any given day one might discover a group of gallery goers studying, snoozing, climbing, sliding down the rolling terrain, or making-out in one of the darkened recesses below the cardboard surface.
All the rest abou the project!
Ball-Nogues Studio - Liquid Sky, PS1 [Contemporary Art Center, 2007]
The Museum of Modern Art and P.S.1 Contemporary Art Center present an installation in P.S.1’s outdoor courtyard by Los Angeles-based firm Ball-Nogues, led by Benjamin Ball and Gaston Nogues, winner of the eighth annual MoMA/P.S.1 Young Architects Program. The competition invites emerging architects to propose an installation for the courtyard of P.S.1 in Long Island City, Queens.
The objective of the Young Architects Program is to identify and provide an outlet for emerging young talent in architecture, an ongoing mission of both MoMA and P.S.1. This year, five finalists selected by a closed nomination process were asked to present designs for an installation at P.S.1.
All the rest about “Liquid Sky”!
Below some info about Benjamin Ball and Gaston Nogues..
Benjamin Ball grew up in Colorado and Iowa where his mother’s involvement in theatre proved influential. While studying for his degree at the Southern California Institute of Architecture, Ball logged stints at Gehry Partners and Shirdel Zago Kipnis. Upon graduation, he sought work as a set and production designer for films (including the Matrix series) as well as music videos and commercials with such influential directors as Mark Romanek and Tony Scott. His experience ranges from work on the Disney Concert Hall and small residential commissions for boutique firms to complex medical structures and event design. In his current collaboration with Gaston Nogues, Ball is exploring the intersection of architecture, art and product design through physical modeling and the use of digital and more traditional forms of production. A major goal of his design endeavors is to create experiences; because of this, he feels “a building that is not built is not architecture.”
Gaston Nogues was born and raised in Buenos Aires before moving to Los Angeles at age 12. Frequently accompanying his father to his job as an aerospace engineer, Nogues acquired a fascination with the hands-on process of building. An honors graduate in architecture from SCI-Arc, he moved directly from school into a position at Gehry Partners where he worked in product design and production and became a specialist in creative fabrication. He remained there until 2005 except for a one-year stint in 1996 as an assistant curator at a fine arts publishing house, Gemini GEL. In his current collaboration with Benjamin Ball, Nogues is focused on fabricating what they visualize; on process as it relates to the built object. In his spare time, Nogues builds custom automobiles.
In 2006, Ball-Nogues Studio was awarded the Best of Category distinction for Environments for their installation Maximilian’s Schell by ID Magazine. Ball-Nogues is the recipient of two Los Angeles AIA Design Awards and Interior Design Magazines Best of Year Award for their installation Rip Curl Canyon. In 2007 their installation Liquid Sky was the winner of the Museum of Modern Art / P.S.1’s Young Architect’s Program competition and Ball-Nogues became one three design teams who were awarded a United States Artists Target Fellowship. In 2008 their site specific installation Echoes Converge appeared at the 11th Venice Biennale of Architecture and an exhibit of their work appeared at the Bejing Biennale. The Museum of Contemporary Art in Los Angeles will host a new installation by the team in the summer of 2009. Their work has appeared in publications worldwide including the New York Times, the Los Angeles Times, Architectural Record, Architectural Digest, Interior Design, Icon, Log 10, Sculpture, and Surface.
All the rest at: www.ball-nogues.com
Thanks in advance. Alvin.
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[...] Via: fabrikproject [...]
[...] said it best, “Whoa!” This is amazing, check this link at fabrikproject for tons of pictures of this project and several other interesting designs by Ball-Nogues [...]