My first encounter with their work happened 3 years ago through blogs and magazines that were raving about Maximilian’s Schell, a temporary outdoor installation that the Californian duo had installed in the courtyard of Materials & Applications in Los Angeles. I finally got to experience one of their works last Autumn at the Venice Architecture Biennial. Titled Echoes Converge and made of thousands of coloured string catenaries, the installation attempted to create a visual sensation reminiscent of the audio phenomenon of an echo while it kinetically registered the gentle currents of air as visitors experienced its cloud like volume. […]
But let’s get back to 2005: their Maximilian’s Schell warped the flow of space with a golden rendition of a celestial black hole. Constructed in tinted Mylar resembling stained glass, the vortex functioned as a shade structure, swirling overhead for the entire summer of 2005. The interior of the immersive installation created a space for social interaction and contemplation by changing the volume, color, and sound of the courtyard gallery. During the day, the canopy cast colored fractal light patterns onto the ground while a sound installation by composer James Lumb lightly rumbled below the feet of visitors. 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. The piece paid homage to a character played by actor Maximilian Schell in 1979 sci-fi movie The Black Hole.
We Make Money Not Art: Postopolis, Ball-Nogues Studio
(Many more images at link)