A temporary installation commissioned by the Rice Gallery with the Museum of Fine Arts, Houston, exemplifies this three-year-old Los Angeles firm's investigations into modulating space. The 8-ton landscape, made from 4,000 sheets of cut cardboard mounted on a curved plywood frame, was assembled by hand and conceived as interactive—also in a low-tech way. Students, professors, and art and design aficionados alike were meant to lounge, study, nap, or generally cavort on the hills and valleys that filled the Rice Gallery. Technology, aka CAD drawings, played its part behind the scenes. For principals Benjamin Ball and Gaston Nogues, that's the wave of the future.
STANDOUT The geometric analysis of a Voronoi diagram transformed a Civil War fort into CNC-milled translucent acrylic for the Institute of Contemporary Art's “Art on the Harbor Islands.”
A temporary installation commissioned by the Rice Gallery with the Museum of Fine Arts, Houston, exemplifies this three-year-old Los Angeles firm's investigations into modulating space. The 8-ton landscape, made from 4,000 sheets of cut cardboard mounted on a curved plywood frame, was assembled by hand and conceived as interactive—also in a low-tech way. Students, professors, and art and design aficionados alike were meant to lounge, study, nap, or generally cavort on the hills and valleys that filled the Rice Gallery. Technology, aka CAD drawings, played its part behind the scenes. For principals Benjamin Ball and Gaston Nogues, that's the wave of the future.
