Los Angeles International Airport

In this project by Ball-Nogues Studio, 450,000 feet of precisely ordered metallic bead chain is suspended within a five-story atrium. Each full chain is composed of multiple sections of chain of different colors. The organization of color is informed by both the architecture of the space and the natural light that enters. The chain patterning precisely corresponds to the shadows cast by the atrium's structural beams on two astronomically important dates: the summer solstice and the vernal equinox.

Working closely with Ball-Nogues Studio, we created custom 3D form-finding software to explore the design of Air Garden, and to apply color to chain volumetrically. Additionally, we produced computer rendered illustrations and animations to promote the project, collaborated with Buro Happold to analyze structural engineering requirements, and developed a custom computer-controlled machine to cut the chain and assist in assembly.

Ball-Nogues Studio: Air Garden

Arnolfini, Bristol
LAX Art, Los Angeles

In Tribe's installation, a 216-foot magnetic audio tape loops between two listening stations, each equipped with a reel-to-reel audio player. As the tape winds through the space, it passes through two decks - one continuously records the a narrated audio track; the other erases it. The audience hears the intact soundtrack in one location, while in the other it hears mostly silence interrupted by fragments of sound that failed to disappear.

To ensure that the tape would run consistently and not be damaged, we developed a wireless radio control system that synchronizes the actions of both reel-to-reel tape players. The system records four audio tracks from embedded digital players to the reel-to-reel tape as it passes through the first deck, and erases it at the second.

Additionally, we developed the mechanical transport system for the serpentine tape run. Seven unique part types were designed and over 300 parts were fabricated.

Kerry Tribe

Kunstmuseum Bonn
Whitney Museum of American Art, New York
Wexner Center for the Arts, Columbus
Museum of Contemporary Art, Los Angeles

For this series of paintings, we designed and manufactured several dozen remote-control, programmable clock mechanisms. These mechanisms were able to run forward or backward, travel at a wide range of speeds, and were capable of (intentionally) irregular behavior, such as stuttering and lurching. This project had challenging constraints: it was required to run on a battery (low power consumption) and maintain a very thin form-factor, yet be capable of driving hands much larger and heavier than a standard clock.

Los Angeles

We worked with artist Nathan Mabry on a series of striking sculptures he proposed for the SoFi Stadium VIP entrance.

At Nathan's direction, we experimented with placement and orientation of the five monumental works-- each loosely based on a different type of flower-- on this expansive terraced site.

https://nathanmabry.studio/

Sparce worked for Ball-Nogues Studio on their ambitious public artwork "Weavers Knot, Sheet Bend," installed on the Delaware River Waterfront in Philadelphia.

We developed custom software that enabled fluid, creative decision-making during design, while simultaneously ensuring that the resulting form was fully buildable and in engineering compliance.

The weavers' knot can be sketched roughly; the system solves for all the building problems involved-- orienting welded spacers, enforcing support cable angular constraints, resolving cable conflicts, hitting attachment anchors on the support masts, etc. In addition to generating the 3d model, it outputs key quantitative measurements that assist with project budgeting.

When design was finalized, our system automatically created the complex fabrication support structure (falsework), which was expertly assembled and welded by the artisans at Ball-Nogues Studio.

Galerie Frank Elbaz, Dallas
JOAN, Los Angeles

For Thomson's Windham-Hill works, we developed a custom motion control system to play records at speeds far slower than the standard 33 1/3 RPM. The duration of each of the five works in the series is keyed to a specific record title: George Winston's December takes 31 days to complete, while William Ackerman's It Takes a Year takes a full 365 days to play once. The motion control system is incorporated into modified turntables and requires no external components.

A series of eight anodized aluminum sculptures characterized by an exquisite tension between organic form and precision machining.

We modeled each sculpture based upon the artists' preliminary drawings and maquettes, then met regularly to explore and refine the design in person. Finally, we produced CNC files for the sculptures, which were milled from solid aluminum.

Light Pillar is made from approximately 50km of painted bead chain, precisely oriented within an array of vertical steel cables.

Working closely with Ball-Nogues Studio, we created custom software to explore the form of Light Pillar. Our software allowed the creation of 3-dimensional figures within the diaphanous volume of chain.
After design, it was used to automatically generate 168 of each of two types of unique diagrams required for assembly. Chain was cut with the Installator, also made with software and electronics designed by Sparce.

Light Pillar

Wattis Institute for Contemporary Art, San Francisco
Whitney Museum of American Art, New York
Wexner Center for the Arts, Columbus
Museum of Contemporary Art, Los Angeles

Owens's immersive installation of silk-screened, flocked, painted, and hand-printed wallpaper covered every wall of the Wattis gallery. Printed telephone numbers found throughout the work could be texted by visitors to the gallery. Depending on the content of the text message, one of hundreds of sound clips selected by the artist would be play though speakers embedded deep within the walls.

For Owens's installation, we designed and built a system capable of receiving text messages on up to eight telephone lines, a computer program to select an audio track based on an analysis of each incoming message, and an eight-channel audio system to spatialize the chosen audio within the gallery.

10 Paintings

Storefront for Art and Architecture, New York

Reef is a forward-looking investigation into the application of dynamic surfaces in architecture. In Ley and Stein's ambitious installation, hundreds of flexible 'fins' move in response to the presence of the visitor. The complex motion is more animal than mechanical, suggestive of tree boughs in wind, or sea anemones in ocean currents.

Sparce Studio created custom software to analyze the location of viewers as they moved through the installation and computed the complex responses imagined by Ley and Stein. In addition we created custom electronics and a communication protocol to drive the shape memory alloy-actuated fins.

Reef

North Hollywood

We wrote custom design software for this bold project by Ball-Nogues Studio. Awning is made from 1410 laser-cut stainless steel parts, each bent to a unique angle. 482 individual connection nodes.

Our software allowed the creation of networks of bent flat components within a given volume. It resolved intersections and computed buildable "layers" of material at each connection node, as well as the required bends for each component. We worked closely with Nous Engineering, Los Angeles to ensure safety and performance. After design, the software was used to automatically generate cut files for each component, and nearly 2000 diagrams illustrating the assembly sequence.

George is a meticulously hand-made light sculpture that gracefully changes shape and light intensity over time. Designed and constructed to the highest standards of craftsmanship by artist Eddy Sykes, George is a radical re-imagining of the classic chandelier.

We developed a keyframe-based editing and playback control system to support multiple lighting intensity and motion sequences. Animation sequences are first edited on a desktop application, then stored and played back on a compact, stand-alone control unit.

George

Iowa State University College of Agriculture and Life Sciences

The network of bead chain is governed by two distinct organizing strategies: the overall form is modeled after the tree of life (biology), while the patterning is based on cellular automata (computation).

LA Louver Gallery, Los Angeles

In Campbell’s sculpture Satellite, a swarm of bees appears to hover in mid-air. While on first glance the distribution of the 600 cast copper bees may seem random, as one approaches it becomes clear that the bees are following a helical path.

We developed custom software that allowed the artist to fluidly experiment with multiple swarm designs. The number of bees and the minimum allowable distance between them could be changed on-the-fly, while a series of adjustable input curves allowed quick adjustments to the bee’s path, changes in bee density, and how closely the bees hewed to the path at various points. Upon approval of final 3D animations of the work, we used the software to automatically generate CNC cut files for the perforated walnut disks and an indexed database for the fabricators, ensuring that the bees would be correctly positioned along each wire.

Satellite

This ongoing project by Ball-Nogues Studio will be made from painted tube steel and installed near the border between Calexico, California and Mexicali, Mexico. It is entirely defined in software written by Sparce: the fluid composition, output for structural engineering analysis and feedback, rationalization for fabrication, and required structural details.

Ley built this custom machine to bend aluminum tubes into precise forms for a series of art installations.

We developed the electronics and computer program to take 3D curve information and convert it to a series of orchestrated mechanical motions, yielding a correctly formed tube. The system also actuates a tool for drilling through-holes in the tube and a marker for producing indexing marks for final project assembly.

Reef
 

Peace Corps Monument Competition

We 3d modeled and rendered Ball-Nogues Studio's ambitious proposal for a Peace Corps Monument in Washington, DC.

"Through form and material The Meeting Ground embodies the conception that despite differences in geography, culture, and appearance, as global citizens we share an obligation to see the common humanity in one another. A rotunda of intersecting domes constructed in cast glass gives form to the idea that meetings across diverse cultural territories can forge deep and meaningful connections between individuals. Glass, recognized as fragile and transparent, stands unexpectedly within a Washington landscape constructed largely in walls of stone that are symbolic of permanence and divisive boundaries. The glass offers a fresh lens for seeing the world by literally and symbolically bringing strangers together in new ways; it is a testament to how paradigms can be transcended through insight and experience. Kaleidoscopic patterns of light cast onto the stone pavers and the bodies of the visitors shift perspective and suggest seeing the other through new eyes. The dome, a universal architectural embodiment of philosophical singularity, is multiplied, differentiated and overlapped to speak to how diverse values find an underlying unity in the recognition of the other. At night, The Meeting Ground will be a glowing beacon. During the day, through the glass of the pavilion, the sky and surroundings become a shared and shifting mosaic rather than stable, singular pictures." - Ball-Nogues Studio

356 Mission, Los Angeles

For The Loste Note, we worked closely with Tribe to produce a series of studies for sculptures. A highly detailed computer model of a C-Stand was constructed, then deformed in a number of ways. The resulting studies were rendered to closely resemble photographs.

The Loste Note

Growths is a series of large format digital C-prints conceived by Jeffery Neale.

For Growths, we developed custom software for interactively "growing" 3D forms based on generative rules. The final output was a series of high resolution renderings of the resulting forms. The full-featured L-system interpreter written for this project includes support for a arbitrary number of production rules, geometry instancing and swapping, material assignment, scaling, and randomization.

MOCA Pacific Design Center, Los Angeles

Feathered Edge was made 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.

Working closely with Ball-Nogues Studio, we created custom software to explore the form of Feathered Edge. Additionally, we developed custom electronics and software to drive a CNC machine that marked, dyed and cut the thousands of cord sections used in the project.

Feathered Edge

For Thomson's project, we adapted a standard sheet music stand to accommodate an iPhone, via a custom metal casting. The design is spare and unobtrusive, yet allows the device to be locked to the stand.

Composition for Marimba

A project sited at Jefferson County Government Center - Golden Station in Golden, Colorado.

Sundial is a contemporary take on the familiar railway station clock. A set of outsized glass numerals are coated with a liquid crystal film, a material that, when energized, changes from opaque to clear. The shadow cast by the clock tells the time, while slowly changing location over the course of the day (and year).

For Sundial, we developed a system with a number of unique features required by the project. Our custom clock module drives the high-voltage film segments used for the display, inverts the numerals for "shadow casting" operation, and uses a GPS radio and daylight saving algorithm to continually maintain the precise time. Additionally, as the switching film cannot change state quickly at extremely low temperatures, sensors allow for a special failsafe mode when the ambient temperature falls below predefined threshold.

Sundial

Custom Software Applications

In Ten Worlds, artist Jeffrey Neale recites poetry generated in real time. The poems are developed in real time according to complex rules, and are infinitely variable. Ten Worlds has no predefined ending.

For Neale's project, Sparce developed two custom software applications and a scripting language. The first application, called Dictionary Editor, allowed the artist to tag videos of himself speaking with metadata describing the tonal qualities and grammatical usage of each word.

Second, we developed the Ten Worlds Scripting Language so that Neale could describe the structure and tonal character of prototype sentences and stanzas.

Finally, during exhibition, another Sparce application interpreted the scripts Neale wrote, constructing an ever-changing sequence in real time. The video is edited and projected on the fly.

Minding device for young children with kidney transplants, who must drink adult quantities of water.

This easy to use, game-inspired device flashes (and optionally, chimes) upon the hour as a reminder to drink a measured quantity of water. The daily amount of water yet required, already consumed, and "behind" are indicated graphically. Water Clock clips to a backpack, so caregivers at home, at school and aftercare all understand when and how much needs to be consumed to keep the child healthy.

The device records the date and time of each "drink" and can be reviewed in a spreadsheet.

Designed and built by Sparce.

Niemeyer's Black Cloud is a networked sensor platform used to study air quality. Deployed throughout Los Angeles, the monitors send measurements of CO2 concentration, VOCs, light, noise and temperature to the Black Cloud website, where students and the general public can study and compare the air quality at various locations.

We worked with Niemeyer to realize his vision for the industrial design and coordinated fabrication of the production run.

Sester’s Mirror is an interactive sculpture that tracks an observer as he or she moves, continuously panning and tilting the mirror so that it faces its subject.

We were responsible for the industrial design of Mirror, and served as fabrication coordinator. Additionally, we designed and developed the tracking system for the prototype. Sensors provided input to an integrated computer system, which located the observer in 3D space, computed the orientation for the mirror, and actuated pan and tilt motors. All components were incorporated into mirror, affording simplicity of deployment and operation.

Mirror

San Diego, CA

Sparce developed custom design software for 'City Wall' by Ball-Nogues Studio. The unique, semi-abstract relief situates the viewer's location at the center of the work. Finished in bronze and polymer resin.

The form of the City Wall was derived from aerial photographs of the area. Sparce created unique software with specialized controls for converting image data into NURBS surfaces for CNC machining. Additionally, we conducted materials and process research and coordinated fabrication.

Project Featured in Data Flow 2: Visualizing Information in Graphic Design

Se San Diego City Wall