"Róng" in Chinese means melt or fuse. The Róng Design Library is committed to deconstructing traditional handicrafts into materials and crafts, and actively exploring the future of tradition. casting is the ninth research topic of Chinese traditional handicraft in Rong design Library, following bamboo, silk, soil, copper, paper, mortise and tenon, coloring and weaving. Based on the deconstruction of "casting", the "Róng Design Exhibition" exhibited 28 sets of works created by 38 designers and artists from different fields (furniture &amp; products, fashion, space &amp; architecture, art, sustainable design). Let's listen to the echoes of the deep collision between foundry technology and contemporary design.

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shanghai

casting

Material：Pine wood, ResinSize：L40*W40*H40cmLinglong but not Linglong; it has the essence of delicacy, yet lacks the delicate form. This work is an extension of CHEN Darui's X Series in 2018, magnifying the most crucial metal component of the X Series by 12.5 times, crafted using transparent resin casting techniques. The X Series is born from concepts, combining digitization, industrialization, and localization. It represents a fresh exploration of potential contemporary art creation methods in the future. The X Series is characterized by connections, continuously intertwining with the subjective perceptions of the author at different periods, giving rise to endless forms of expression.

Linglong but not Linglong

Material：Copper​Size：L25*W10*H5cm, L10*W5*H5cmThe origami lamp series is crafted from a single folded square sheet. Using metal cast to its thinnest possible thickness, the lamps embody the dynamic motion of origami, giving the metallic objects a sense of lightness akin to folded paper. This series challenges the limits of metal casting techniques through the logic of origami. Each lamp's formation is based on deformation analysis using physical simulation software, accurately reflecting the folding and contraction logic of paper to achieve a structure that closely follows the principles of paper folding. Depending on size, proportions, and light cone direction, there are two types: pendant lamps and table lamps.&nbsp;The cloth lampshade is formed naturally as a square cloth falls from the air onto a tabletop, undergoing deformation. Under the influence of air resistance, gravity, and its own elasticity, the surface weave of the fabric forms a stable structure at the moment of landing. This instant structure is captured through digital software simulation and then cast in ultra-thin brass to create the lampshade. The lampshade can be processed into two types: solid and wireframe. The solid lampshade reflects a dim golden sheen and emits light from the side, while the transparent lampshade is cast with the thinnest wireframe possible, creating a mesh-like surface that allows the light beads behind it to flicker faintly, transmitting rich light and shadow.

Origami Lamp&Fabric Lamp

Material：Resin, gypsum powder,glass, acrylic, spices, wax, comprehensive materialsvariable sizeMy main art projects are about oil painting and picture book creation.&nbsp;For the theme Rong-Casting, I want to combine the theme with my previous picture book work. I try to re-present the abstract pictures about emotions by the casting technique .&nbsp;This experimental work extends the emotional feelings presented by color painting to the multidimensional sensation which include visual, touch , and taste . Through the superposition of different materials, different tactile sensations are created, allowing the tactile sensations to express subtle even giving the possibly for more sense to be engaged touch and smells.The arrangement and combination of solid blocks of different sizes, the art work visually presents a prose poem with sounds that may be light or heavy, and emotions that may be strong or gentle.The work displays both paper and casting forms, showing the process of the work growing from two-dimensional to three-dimensional, turning a book that could only be flipped through into a story that can be touched and inhaled.

Emotions Before Melting

Material：Wax, Concrete, MetalSize：L80*W69*H40cmCasting as assembling does not lead to a specific product or component, but a concept focused on construction. The formal freedom offered by casting often result in formwork expression or sculptural quality. In the concept of casting as assembling, we hope that casting is an indispensable step in completing construction. Inspired by the lost wax casting method, we carve the internal structure out of wax and cast around it with concrete. After removing the wax, the interior of the concrete component forms a structural space. After accurately positioning different components, the one-time casting of metal completes the construction process. The casted structure is invisible but the integrity of the object makes visitors think.

Casting as assembling

Material：CeramicsSize：L120*W70*H40cm，L40*W40*H30cmIn the creation of ceramics, clay, as one of the oldest materials, always seems to convey some kind of ancient message and reverie. Looking at the clay in front of me, my thoughts take me back to the empty state before the germination of consciousness. I imagined the moment when the first cell in the world appeared. From a simple cellular pattern, I hear the most primitive rhythms and structures formed by division. They converged into an ocean, giving all material forms and possibilities. There is a thing floating endlessly in this chaotic world. it's a sigh of the earth.

A sigh of earth

Material：BrassSize：L60*W32*H18cmLomekwian is a site located in Kenya, East Africa, where the oldest known primitive tool-type stone artifacts have been unearthed. Unlike other stone tool artifacts, Lomekwian exhibits a randomness in its stone tool morphology. The manufacturing method involves one stone being struck against another, resulting in fragmentation. These stone fragments possess cutting, slicing, and chiseling capabilities without requiring any artificial modification.The Lomekwian technique exhibits strong intuition in the manufacturing process, inspiring us to contemplate how to use intuition more in designing products or "discovering" the functionality of a known form to "become" a product.In this way, we aim to return to the inventive thinking of Lomekwian Technology and explore the discovery of naturally occurring forms that can be used as tools. By combining casting techniques, we intend to replicate the original natural forms while transforming the materials. This approach allows us to retain the functional potential of the natural forms while ensuring performance. Ultimately, we seek to bring back the imagination and creativity of the primitive era into modern life.

Lomekwian Series · Spine

Materia：GlassSize：L44.5*W23.5*H3.5cm，L38.5*W27*H4cm，L39*W27*H3.5cmThis group of works shows the instantaneous process of folding and unfolding "glass paper", during which a soft yet firm sense of warmth is discovered. As I grew up, I would receive some letters and words, which turned into spiritual language to accompany my growth. No matter how many years passed, these "languages and words" were opened again, the feelings from that time still came to my heart. People need a process of self-"folding", just like the process of self-reflection. These words or words become the nourishment of "folding". After I am nourished and discovered, the process of self-opening is like glass that is folded and then opened. paper. When you see the words in your heart through the glass, they are faint, but their power is like the tide rolling and surging under the water surface.

Words in Paper

Material：Glass MetalSize：L40*W40 *H55cmThis work is inspired by a one-second live photo taken by the phone on the airplane, and the color changes in the photo within one second are captured by the airplane's movement. When people look at this image with their eyes at a glance, they can only capture a vague sense of color change. &nbsp;We combine glass materials and lights to amplify the blurred color changes that light exhibits as it moves through time and space. At the same time, we also want to bring the light atmosphere in the external space into the internal space of the building through this work.

1"Skyline

Material：ResinSize：L33*W33*H33cmAt a temperature of 0 degrees Celsius under standard atmospheric pressure, water molecules weaken their attraction with thermal motion and continuously strengthen, forming a regular crystal structure that humans call ice.Ice is one of the most common elements in nature. Shaw took the nature form ，Using 3d printed process, to create a home product with a strong sense of coolness.

Ice Cube

Material：AluminumSize：L9*W4*H6.2cmThis tape dispenser celebrates the raw beauty of aluminum sand casting, an age-old technique. Instead of removing the split lines, the standard procedure, they are transformed into a unique feature of the design, being used as a functional blade for cutting tape.&nbsp;By leaving the part untreated after unmolding, this dispenser showcases the rough, random charm inherent in sand casting. It invites viewers to appreciate the distinct aesthetics of this traditional craft, revealing how imperfections can become defining, artistic elements.

Split Line

Material：Brass, Tin, Silver, Plastic, PhotographySize：L15*W15*H30cmThe casting process facilitates a genuine interaction between two materials. Additionally, one material undergoes its own transformation due to the presence of another material. This characteristic reflects the subtle attitude of both the material and the artist. The work consists of nine containers and candlesticks primarily made of brass, as well as a nine-grid photograph. The bottom of each object is crafted from tin and directly cast based on the surrounding environment where the artwork originated, allowing each piece to harmonize with specific ground textures in its designated location. The photographs hint at the connection between objects and fragmented environments while establishing a "treasure map" and "key" relationship with them. The artwork seeks to deconstruct the relationship between “mold” and “pattern” emphasizing an object's craftsmanship in relation to its local context while fostering an imaginative link between users and their respective “homes”.

Home

Material：Porcelain, Seeds Size：L50*W50*H50cmCasting is the confinement of one material to another, resulting in a clear material boundary. Fusion·Casting aims to merge and blur this boundary.The internal combustion engine symbolizes humanity's ambition to control the world. The important performance component of the combustion engine is selected in the factory: the crankshaft. To cast the crankshaft module, porcelain clay is mixed with a large amount of seeds. A wall is built in the greenhouse as a source of strength and life. After a period of greenhouse cultivation, the seeds gradually change from “crankshaft” to “crankshaft”. It sprouts, grows and spreads inside and outside the crankshaft, gradually breaking the industrial boundaries on the surface of the crankshaft, allowing natural forces to merge with industrial forms. then the plants grown from them are used as “small molds” that are “cast” with white porcelain mud and are left permanently preserved. Imprint of plant growth.

porcelain masonry - Dynamic Cultivation

Material：Aluminum, White oakSize：L300*W180*H80cmAs a designer born in Suzhou, Hongchao Wang has always been drawn to the valor and loyalty of the Spring and Autumn Period. This particular era nurtured a group of distinctive figures who embodied the spirit of loyalty, righteousness, resilience, bravery, benevolence, etiquette, adaptability, and innovation.In this themed design of casting, Hongchao Wang decided to revisit the classic story of Gan Jiang and Mo Ye from the Wu Kingdom of the Spring and Autumn Period. The legend of Gan Jiang and Mo Ye not only showcases exceptional sword casting skills from ancient times but also deeply reflects the deep friendship between husband and wife and their relentless pursuit of craftsmanship. The core spirit of this story is closely related to the personality and aesthetics of the Spring and Autumn Period, especially in terms of loyalty, righteousness, and the pursuit of art.By reinterpreting the story of Gan Jiang and Mo Ye, Hongchao Wang hopes to convey the aesthetics and spirit of the Spring and Autumn Period to modern audiences, allowing more people to experience the cultural charm, depth of thought, and identity with traditional culture of that era. This series of furniture, integrating the story of Gan Jiang and Mo Ye into modern design, combines traditional casting techniques with modern aesthetics to create furniture artworks with profound cultural connotations.

Gan jiang & Mo Ye Collection

Material：Glass, AluminiumSize：φ10* H25cmThe design of the LAVA table lamp is inspired by volcanic geological features, with handcrafted elements highlighting the perfect fusion of craftsmanship and natural forces. The lampshade is created using the lost foam casting technique, where high-temperature aluminium melts the EPS foam mould, simulating the cooling and forming process of volcanic lava. The unique shape and texture of the lampshade are a direct result of this special technique.The bulb inside the lampshade is made of hand-blown glass, with irregular patterns that resemble rolling volcanic lava when illuminated, injecting vitality into the static lamp. The light and shadow effects when the lamp is turned on echo the flow characteristics of lava, enhancing the visual impact and natural associations of the piece.

LAVA

Material：Glass, Graphite, Ironvariable sizeThe process of glass melting resembles that of alchemy, with its highly fluid medium transforming in the flames through calcination, fusion, solidification, sublimation, oxidation, separation, and combination. The creator's imagination, creativity, spiritual thoughts, and craftsmanship skills blend seamlessly, gradually revealing the hidden brilliance and profound mystery of the world. Through the metamorphosis of form and the deep alignment of spirit, the artist ultimately forges a pure sense of self.

Alchemy

Material：ResinSize：L110*W70*H30cmThe inspiration for the CLOISTER coffee table comes from the intersecting vault structures found in traditional European architecture. In the design of the CLOISTER coffee table, this element is skillfully incorporated to create a unique visual effect and structural beauty. The semi-transparent frosted resin material not only enhances the table's modern feel but also better showcases the interaction of curves and edges, capable of refracting and reflecting natural light, highlighting the complexity of the structure. The table visually presents a distinctive sense of depth and three-dimensionality. Light passing through varying thicknesses of resin creates beautiful textures and patterns on the tabletop. As the light changes, it creates dramatic light and shadow effects.&nbsp;Each small module can be used individually or combined to form different shapes, mimicking the serene, continuous cloisters of traditional architecture. This design not only enhances the practicality and flexibility of the coffee table but also allows users to freely combine the modules according to spatial needs, creating a more unique furniture configuration.

CLOISTER

Material：Recycled Stock Yarn, ResinSize：φ48*W3cm“Microcosm” is a series of textile installations inspired by the immersive changing of seasons and natural creatures in the future world. The works focus on both the micro world and the vast universe, from a perspective of infinitely large and small natural things in the world that have neither a starting point nor an end against the backdrop of time. These installations, fashioned entirely from recycled stock yarn, were conceived as a creative interpretation of a future world where the natural world has triumphed over the built environment, leading to a state of wild overgrowth. This series of works is a visionary response to growing concerns about the impact of human activities on the environment, exploring how recycled materials and epoxy resin materials can be integrated into artistic creation. 'Microcosm" invites viewers to engage with themes of sustainability, ecological responsibility, and the intersection of human and natural systems. Through its intricate textures, layered forms, and otherworldly beauty, the installation offers a powerful visual representation of the ongoing struggle between the forces of civilization and the power of the natural world.

Microcosm

Material：Mycelium, using agricultural wastes such as coffee grounds, wood chips and rice husks as substratesSize：L37*W27*H38cm, L53*W43*H78cmIndividuality sells out unconditionally to commonality, accepting the domination of daily habits that consume meaning.&nbsp;Plastic is undoubtedly one of the greatest inventions of the twentieth century. Plastic products are the most readily available and inexpensive in everyday life, making them an optimal choice in an era of rapid industrialization.&nbsp;“CONSUMER”, using plastic products that are habitually used in everyday life as molds for mycelium growth. Using the most common plastic products as symbols of value transmission, giving them new materials, re-understanding and imprinting what was previously taken for granted, and constructing new relationships. The uniform plastic products grow into mycelium products with different surface textures and forms, nurturing individuality in the commonality of industrial civilization, presenting new aesthetic values in the display and spreading the sustainable values of bio-economy.

CONSUMER

Material：Coffee grounds, straw, recycled milk bottles PESize：L45*W45*H80cmM-seen organization, Making park collaborates in a long-term practical project to deeply explore the reuse of coffee grounds. We hope that through this project, we can find more and higher value application directions for coffee grounds. 100% recycled material, 100% recyclable.

See coffee

Material：PolyhydroxyalkanoatesSize：L20*W20*H1.5cmTiKiiTi is committed to providing sustainable editing home materials for zero-living players, and is developed, produced and delivered with the ultimate green sustainable concept. In today's era of excessive material, information and cheap creativity, we increasingly need to return to the most fundamental and authentic life.&nbsp;[PHA editing brick] is a new biological substrate jointly developed by molecular and material innovation expert "Bluepha" and the design field. The material research and development experiment is based on a Marine degradation biopolymer - BluePHA ™PHA, which is a new material synthesized by natural microorganisms. It has a green and low-carbon full life cycle and no less than the performance of traditional petrochemical plastics. PHA is the only bioplastic that can spontaneously degrade in soil, fresh water, and seawater, and is considered the ultimate solution to plastic pollution. PHA can only be synthesized by microorganisms and can be completely degraded into water and carbon dioxide in soil and Marine environments with a degradation period of less than 6 months.

tikiiti

Material：Wax, BronzeSize：L20*W20*H50cmA candlestick that combines a scroll with a torch in a burning posture. Flame itself is also one of the elements that make up the work. This fire is burning, warm, magnificent, and bright.

FLAME

material:Jewellery: Shells, Pearls, CopperJewellery Containers: Electroforming waste liquid, Epoxy resinVariable sizeThis series of jewellery works uses electroforming technology to explore the connection between materials and technology. In the language of jewellery, the relationship between beads and shells is inseparable. Pearls are grown from oysters, and the electroforming process itself also has growth properties. The principle is to grow metal on the surface of the parent body through electrodeposition to form new visual effects. The word "Yun (Store)", in the traditional Chinese context, is a process of accumulation and precipitation, while the word "Sheng (Grow)" is both growth and rebirth based on the maternal body.&nbsp;We took the growth relationship of pearls and shells as a motif and carried out creative experiments using the linear time language of electroforming. Simultaneously, we adhered to the concept of sustainability during the creation process, considered the recycling of waste liquid produced by electroforming, and used the electroforming waste liquid to make jewellery containers, and ultimately created the series "Store and Grow".

Store and Grow

Material：Acrylic，Tin，JointSize：L14*W14*H70cm, L14*W14*H50cm, L14*W14*H20cmIn traditional Chinese handicrafts, tin is molded into daily utensils through molds. In modern times, tin is used as a welding material in industrial production, and its characteristics connect ancient and modern life.Cometabolism studio selects parts containing tin from daily life and combines them into a pattern of intertwined branches, which is cast as a connecting piece through stone mold. This connecting piece is not functional, but rather reintroduces it into people's daily lives.The work emphasizes the flexible material properties of tin and the importance of its "connection". The pattern of stone mold casting is only one possibility, and its form can be infinitely varied, constantly exploring new possibilities for stone mold casting tin and contemporary digital production methods.The three works on display have no precise function, it can be lamps, vases, sculptures, candlesticks, or even jewellery worn by the user, depending on the scene and their needs. The works attempt to blur the definition of functional objects.

Bridge

Material：Paper pulp, Mugwort, KapokSize：L35*W30*H60cmSmell, it seems invisible but full of style. The fragrant bowl made of paper pulp, mugwort and kapok carries the fragrance of natural mugwort. It releases and absorbs the smell as the moisture in the air changes. In addition to decoction, traditional Chinese medicine can also be fragrant. The aroma can heal physical and mental pain and has been used since ancient times.Incorporate invisible casting into the tangible to create a scent casting space.

Scent bowl

Material：Purple clay&nbsp;Size： L59.8*W59.8*H88.3cm； L20.5*W19.6*H27cm；L55.2*W55.2*H46cmThe "Edge" series is a reimagining of gypsum lines and purple clay, re-examining the design inertia inherent in materials and reflecting on the craft and socio-cultural influences behind "objects."&nbsp;For a long time, modern interior spaces have adorned the edges of ceilings and walls with gypsum lines, transforming classical columnar decorative styles into paradigmatic trends. These lines have been considered redundant in the evolution towards minimalism and everyday aesthetics. The Edge series seeks to rediscover the potential of this convention.&nbsp;Purple clay material offers even more possibilities to this proposition. Renowned for its breathable, durable, and malleable properties, purple clay is often used in crafting teapots. Through casting, MMR STUDIO seamlessly integrates this material with the form of gypsum lines, developing a series of finished products ranging from edge to space, including lamps, shelves, and coffee tables. These constitute the main exhibits of the "Purple Clay - Becoming Home System" exhibition.

Edge

Material：AluminumSize：L65*W40*H165cm，L40*W35*H48cm，L50*W60*H62cmAluminum's most distinctive metallic characteristic is the formation of an oxide film on its surface from the time it melts to the time it cools. It is like a layer of self-protection for people in society, which provides a safe haven but also creates barriers and distinctions between people.The "Melt and Unmelt" series of furniture is an attempt to visualize the social structure of "the many becoming the many" through the uninterrupted casting of pure aluminum.&nbsp;The casting molds are made of discarded marbles, which are freely arranged within the casting area to form the molds, practicing a more primitive and free casting method compared to traditional casting that requires very precise and detailed molds. Each casting process is done on a flat surface, and for this reason, the pattern of interspersed wrapping of materials in carpentry joints is borrowed, and the part completed in the previous step is wrapped with metal liquid during casting. The casting of the kestrel effectively stabilizes the form of the work.The entire series is entirely handmade by the artist.

Melt and Unmelt

Materia：AluminumSize：L20*W20*H32cmDialogue, hailing from a philosophy of harmonious coexistence between innovation and the natural world, aspires to create a piece that seamlessly integrates into daily life as an artwork. Its form, a reflective aluminum sculpture, transcends mere function, serving as both a mirror and a sculptural interior piece. Its abstract, evocative design, with its subtle reflections of space and its embrace of the human and material environment, imbues the surroundings with a living narrative, turning the space into a true, life-enhancing artwork that mirrors and enriches reality. Mirrors are often thin, almost negligible entities compared to their subjects they reflect. We aim to create an "other subject" that can converse, a living subject in its own right, engaging in a dialogue.Incepted by the essence of a raw stone's cutting process, Dialogue reveres and preserves its raw texture, imbuing it with the patina of time. Each irregular, seemingly casual cut, captures the essence of nature's form and translates its power into a geometric and abstract dance. By eschewing elaborate ornamentation, Nova employs stark, raw lines to outline the unadorned contours of the natural world, allowing art to refine and reconstruct within the rigorous confines of craftsmanship.

Dialogue

Material：Beef bone glue, Quartz sand, Synthetic resin, Barnacles, Oyster shellVariable sizeThe artwork traces back to 1935, Tan Kam Kiu, a woman who was adjudicated for piracy in the South China Sea. In the local and foreign media world, she exists merely as a curious anecdote known as the "Pirate Queen." The sandstone sculptures are like "salvaging" slices of bodies sunk at the bottom of the sea. The ideas of parasitism and mutation attached to the bodies come from the large area of bleached coral on the beach of Daya Bay, as well as the hollow oysters, conches and shells. Parts of these marine invertebrates, viewed by humans as “gifts”, are actually collected from environments severely impacted by excessive coastal development, and mixed with construction waste, plastics, and glass—highlighting the ecological collapse we are all facing together.

Tam Kam Kiu Disappeared In Daya Bay

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Founded by PINWU Design Studio in 2015, Róng Design Library is the first library in China focusing on traditional handcrafts and materials and a non-profit organization.
The core mission is to preserve the knowledge of Chinese traditional crafts and related materials. Furthermore, it offers a platform to deconstruct crafts, analyze materials and creating contemporary designs.

róng design exhibit - casting

Derek Chen

Chen Kunkun & Lin Xiuqing

Di Pian

GUO Liaohui

HONG Zhangliang

Huang Huizhen & Tang Weikun

JIANG Guimei

LI Chengyu & WANG Yunxiao

Shaw Liu

Mugi Yamamoto

SHI Chong&ZHU Lite

Sun Yue

Hongchao Wang

WANG Keren, ZHANG Zhekai

Wang Qin

Wang Yunhan

XU Yanhui

XU Gang，TAN Yatu，LIANG Lili，HE Zixin

CHEN Dandan，YU Jiyi

YU Jiyi，ZHU Tianxin

Yuan Yuan

Zhang Fan

ZHANG Ning，YANG Yafei

Zhang Xiaochuan

ZHANG Zhongyu

Zhao Zihan

FRANK CHOU

ZHU Xiang