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Sanjay Gangal
Sanjay Gangal
Sanjay Gangal is the President of IBSystems, the parent company of AECCafe.com, MCADCafe, EDACafe.Com, GISCafe.Com, and ShareCG.Com.

Feathered Edge in Los Angeles, California by Ball-Nogues Studio

 
April 5th, 2012 by Sanjay Gangal

Article source: Ball-Nogues Studio

Feathered Edgewas commissioned by the Museum of Contemporary Art in Los Angeles. The project explores the convergence of digital technology and craft. It is one in a series of installations curated by Brooke Hodge and Alma Ruiz. Integrating complex digital computation, mechanization, and printing with traditional handcrafted production techniques, Feathered Edge explores our desire to alter a space with fluid architectural forms that require a minimal use of material while utilizing a new proprietary technique that yields the effect of three dimensional spatial constructs “printed” to resemble objects hovering in space.

Image Courtesy Benny Chan

  • Architects: Ball-Nogues Studio
  • Project: Feathered Edge
  • Location: Los Angeles, California
  • Principals in Charge: Benjamin Ball, Gaston Nogues
  • Project Management: Andrew Lyon
  • Rigging: Kelly Jones of Jax Logistics
  • Custom Software Development: Pylon Technical
  • Live Video: Peter West
  • Project Team: Chris Ball, Tatiana Barhar, Seda Brown, Patricia Burns, Paul Clemente, Sergio d’Almeida, Jesse Duclos, Matt Harmon, Karlie Harstad, Ayodh Kamath, Jonathan Kitchens, Andrew Lyon, Lina Park, Tim Peeters, Sarah Riedmann, Joem Elias Sanez, Geoff Sedillo, Norma Silva, Caroline Smogorzewski, Beverly Tang, Blaze Zewnicki, Sasha Zubieta, and the preparatory staff of MOCA.

Image Courtesy Benny Chan

Feathered Edge is comprised of 3604 individual lengths of twine, totaling 21 miles, that were dyed, cut, and then suspended from mesh scrims installed on the walls and ceiling of the gallery. With the aid of the “Insta-llator 1 with the Variable-Information Atomizing Module,” a machine designed and manufactured by Ball-Nogues Studio especially for this installation, the strings were precisely saturated with solvent-based inks, created by a chemist for the project, using four digitally controlled airbrushes and then cut to varying lengths. Using specialized parametric software developed with a software programmer, we generated a map that was printed onto the scrim to establish the proper locations and lengths of the twine in the space. Each piece was attached to the mesh scrim, and then knotted by hand in a technique similar to that used to make latch-hook rugs. The weight of the string creates a complex system of overlapping catenary curves on which cyan, magenta, yellow, and black segments were “printed” to yield the effect of ghostly three dimensional objects. Sometimes the objects are visible, at other times they blur to resemble a fluid-like vapor that floats and hovers in the gallery space.

Image Courtesy Benny Chan

The software used to develop the parameters of the resulting ephemeral spatial condition can yield nearly infinite possible design configurations. While the environment is defined by the string formations and printed “objects,” it is also constructed from the negative space found within the array of catenaries, which allows sight to extend into and throughout the spatial structure. The space is activated by people, movement, and light, creating a continually changing experience.

Image Courtesy Benny Chan

Computers are great at quickly analyzing large amounts of information, then generating data used for fabrication, but they can’t yet produce fully realized works of architecture. At best they can produce highly accurate components and spatial mappings or systems; this is where hand craft comes in. We use our hands and our knowledge of material as a filter for the digital possibilities and to achieve the final “built” environment; in effect, we use the prowess of the computer to push the limits of the hand.

Image Courtesy Benny Chan

Feathered Edge is the third in a series of projects we refer to as “Suspensions.” Unseen Current (2008), exhibited at Extension Gallery for Architecture, Chicago, featured 2,500 suspended string catenaries, and Echoes Converge, exhibited at the Venice Biennale in 2008 used string to create intricate patterns inspired by the baroque ceilings of the city’s buildings. These softly structural, open-air spaces encouraged social interaction, enveloping rather than obstructing viewers.

Layered Perspective

Ball-Nogues Studio
Ball-Nogues Studio is an integrated design and fabrication practice operating in the territory between architecture, art, and industrial design. Essential to each project is the “design” of the production process itself. We devise proprietary systems of construction, create new fabrication devices, develop custom digital tools, and invent materials with the aim of expanding the potential of the physically constructed world. We share an enthusiasm for the fabrication process as it relates to the built world both physically and poetically by letting the properties, limitations, and economic scenarios associated with a process guide a structure’s ultimate form while developing methods to extend the intertwined boundaries of aesthetics, physical performance and lifecycle.

Layered Perspective

Speculation and execution are inexorably linked in our work; each project demands that we maintain tight control over design and production. As young practitioners, this requires a do-it-yourself ethos. Consequently, we have “designed” our career so we can exploit opportunities to build that are outside the constraints of the conventional architectural milieu.  Although our projects are experimental with respect to production, they are far more than prototypes; each directly addresses human occupation by enhancing and celebrating social interaction through sensation, spectacle and physical engagement.

Ball-Nogues has exhibited at major institutions throughout the world, including the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; the Guggenheim Museum; PS1; the Los Angeles County Museum of Art; arc en rêve centre d’architecture + Musée d’Art Contemporain de Bordeaux; the Venice Biennale, the Hong Kong | Shenzhen Biennale; and the Beijing Biennale.  They have received numerous honors including three American Institute of Architects Design Awards, United States Artists Target Fellowships and a grant from the Graham Foundation for Advanced Studies in the Fine Arts. In 2007, the Studio was the winner of the Museum of Modern Arts PS1 Young Architects Program Competition. Recently, their work became part of the permanent collection of MoMA. In 2011 they were one of the Architectural League of New York’s Emerging Voices. The partners have taught in the graduate architecture programs at the Southern California Institute of Architecture; the University of California, Los Angeles, and the University of Southern California.  Their work has appeared in a variety of publications worldwide including the New York Times, the Los Angeles Times, the Guardian, Architectural Record, Artforum, Icon, Log, Architectural Digest, and Sculpture.

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Categories: Art Gallery, Museum

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