Every module is 1200 × 1200 × 200 mm and hangs on the same rail. Order them in any sequence, run the wall as long as the room allows, and change the order in year four without touching the building.
Most ball walls are sold as one fixed artwork, which is why they cost what they cost and why a venue that needs two more metres has to start again. This library works the other way: each mechanism is a self-contained 1.2 m square with its own back panel, its own ball entry port and its own return chute. A wall is however many of them you bolt to the rail, in whatever order you choose.
Every module takes its ball from a top port at the same height and returns it to the same bottom chute, so any module can sit next to any other without an adapter.
Modules stack two high — a top row at 1.2 m and a bottom row within reach of a six-year-old. Above that the ball has to be lifted, and lifting is what the standalone machines are for.
Because the modules are independent, a venue can re-order the wall, add four modules in a new wing, or swap one mechanism for another without a new design cycle.
The whole library runs on a single ball diameter, so a ball picked up anywhere on the wall can be posted into any port on it.
Each is a complete module: back panel, ball port, mechanism and return chute. Mix them in any order — the only rule is that a module needs a port above it and a chute below it, which every module in the library provides.
A field of free-spinning gears that mesh with each other. Turn one and the whole train moves; the ball rides the teeth of the largest gear and is handed to the next.
Post a ball into the top port and it runs a transparent pipe, changes direction twice and shoots out of the open end. The pipe is the exhibit: you can see the whole route before you let go.
A bank of pivoting forks, one under another. The ball lands on the first, tips it, drops to the second and tips that one too — a cascade of small triggers all the way down.
The ball drops onto a three-arm spinner, which turns a half revolution and releases it into the next stage. Heavier balls spin it further, which is the experiment most children run without being asked.
A fixed rail path, bent into a switchback. No choice and no control — just a ball doing exactly what a sloped rail makes it do, which is the clearest possible demonstration of a gradient at work.
The ball drops into a rotating wheel and has to be turned past the gates to reach the exit. The visitor controls rotation, not position, so the ball has to be led rather than pushed.
A field of vertical posts. The ball threads between them, losing speed at every contact, and arrives at the bottom slower than anyone expects. Changing the post spacing changes the whole run.
Two mechanisms in one frame: posts first, then a spinner bank. The ball has to survive the slow, rattling first half to reach the fast second half — the pacing is what makes it re-playable.
The ball drops through the posts into a hopper that tips when it is full. Fill it, then open the gate and the whole load pours out at once — the only module where the visitor decides when the mechanism fires.
A transparent spiral wrapped into a single square. The ball takes several seconds to complete the route, which makes this the module that holds attention longest at the bottom of a wall.
The ball clears the forks, then the visitor takes over: a hand knob steers a gate that decides which of two exits the ball takes. The only module with a real decision in it.
Three rail routes in one frame, at three different gradients. The same ball takes a different time on each, so the module turns into a comparison rather than a single run.
The ball passes through a rotating wheel on its way down. The wheel slows it, turns it through ninety degrees and delivers it to the exit facing the wrong way — which is the point.
The ball sits in a cradle until someone pulls the cord. Then the cradle tips and the ball rolls out. It is the simplest mechanism in the library and, for the under-fives, reliably the favourite.
Standard module: 1200 × 1200 × 200 mm, FR board, PE and PC. Ball diameter fixed across the library so any ball works in any port. Custom widths are cut to the nearest 100 mm; a wall is not restricted to whole modules.
The same fourteen mechanisms are made in two versions, and the choice is about supervision rather than looks.
Coloured FR board back panel, mechanism open at the front. Cheapest per module, ball is visible and reachable, best for a staffed floor where an adult is always within a few metres.
Open front · FR board + PE + PCThe mechanism sits inside a polycarbonate enclosure with a sealed ball entry. Nothing goes in except the ball, fingers stay out, and the modules survive an unsupervised floor without daily resetting.
Sealed · polycarbonate enclosure
The clear version costs roughly a fifth more per module. On a floor with no attendant, it pays for itself in the first season of lost balls and trapped fingers.
The smallest zone we quote as a package: a run of wall modules at child height, a ball pit beneath it, and the return system that carries balls from the pit back to the top ports. It is the configuration most venues start with, and the one most of them extend in the second year.
Every one of these has stopped a wall installation mid-build. They are cheap to get right at drawing stage and expensive to fix afterwards.
Modules hang on a continuous rail fixed to a load-bearing wall or a steel sub-frame. Plasterboard alone will not hold a 1.2 m module with a child leaning on it.
Bottom row at 0.9–1.2 m to the port, top row no higher than 2.4 m. Above 2.4 m the balls cannot be returned by hand and the wall needs a powered lift.
The pit has to sit under the wall, or a conveyor has to bring balls back. Every metre of horizontal return is a place where balls collect and staff end up sweeping.
Balls on a hard back panel is the loudest thing in a children's gallery. A 3 mm foam facing on the panel and a padded floor under the wall are not optional in a room with a hard ceiling.
A wall is one way to fill a room. The standalone machines, the pit underneath them and the climbing structure are the other.
Attach a theme outline, a floor plan, or nothing at all — a photo of the space is enough to start. Quotations are issued against a real exhibit list, not per-square-metre guesses.
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