Archives: Projects

A meandering line of glass vitrines winds through the lobby of the school, filled with outmoded objects of students’ choosing. The work functions as a wunderkabinett, encouraging students to explore questions related to history, progress, and the lifecycle of objects, technologies, languages, and customs.

Located within the garden of an urban hospital, this pavilion provides shade and seating while its intricate patterns of tubes and shadows are designed to captivate the visitor’s imagination. Its most important function is creating a place that momentarily transports the mind away from illness, suitable for sitting alone or sharing a moment with another person.
 

Produced through an unprecedented process of crushing stainless steel into building blocks, this sculpture reads as both irregular and highly refined. Viewed from the east it resembles an ad hoc stack; from the west, precise industrial cuts yield the strict geometric figure of an obelisk, evoking the geological formations of the surrounding landscape.

Employing a proprietary computational technique with a minimal use of material, this installation yields the effect of ghostly three-dimensional volumes hovering in the entryway.

Hanging in an atrium and made from over 10,000 unique segments of stainless steel ball chain, this color shaft changes throughout the day as viewers move up and down the elevators. It appears to twist, shifting in orientation and color, creating effects reminiscent of animation and natural phenomena.

Faraday Future, an innovative new car company in California, commissioned Ball-Nogues Studio to design the concept for a trade convention exhibit. The project was the backdrop the unveiling of their Zero1 prototype automobile at the International Consumer Electronics Show (CES) in Las Vegas in January 2016. The exhibit needed to travel to other events and car shows around the world. Pinnacle Exhibits handled design development, fabrication and install.

These metal panel works blur the distinction between the fabricated and the organic, readable as surface, raw material, and permeable screen simultaneously. The crumpled metal manifests the massive forces used to compact it, while the clean saw cuts of the panel edges place the work in dialog with hard-edge abstract painting.

Approximately 25″ x 38″ x 3″
First displayed as part of the ‘Constructions’ Exhibition at Edward Cella Art and Architecture, Los Angeles, CA

Thousands of sweeping lengths of tinted stainless steel ball chain hang in catenary formations in a three-story atrium, taking cues from theatrical curtain designs. Its appearance shifts with the changing qualities of the skylit space and the movement of the viewer, suggesting brushstrokes on a translucent three-dimensional canvas that dissolve into washes and resolve back into clear strokes.

An architectural experiment in material composites using reclaimed paper, this installation served as a bold, colorful canopy and respite from the sun. A composition of blended paper, water, and pigment was sprayed onto lattices of natural rope, hardening into rigid, self-supporting structures that were diverted from the waste stream. Unlike fiberglass or carbon fiber composites that are polymer based, the Pavilion contained no toxic materials; it could be recycled or composted after the two-week run of the festival.

R&D Award, Architect Magazine (2015)

A tribute to the history of the region, where olive groves brought early immigrants, this piece serves as both a play apparatus and a resting area for park visitors. Curved cement pieces precast from a single mold nest together alongside olive sorting bins, a wheel, and a representative press, providing a backdrop for teaching and the annual festival.