"Róng" means deconstructing the traditional craft and applying them in contemporary design. Based on material and craft research of weaving, knitting, crochet, embroidery and knotting in traditional Chinese handicrafts, 27 designers and artists from 10 different fields have created 24 pieces of work to appy traditional weaving crafts in contemporary design.

large_17681686020011_.pic_hd.jpg

medium_17681686020011_.pic_hd.jpg

small_17681686020011_.pic_hd.jpg

thumbnail_17681686020011_.pic_hd.jpg

17681686020011_.pic_hd.jpg

large_14941686014880_.pic_hd copy.jpg

medium_14941686014880_.pic_hd copy.jpg

small_14941686014880_.pic_hd copy.jpg

thumbnail_14941686014880_.pic_hd copy.jpg

14941686014880_.pic_hd copy.jpg

large_WechatIMG1495.jpeg

medium_WechatIMG1495.jpeg

small_WechatIMG1495.jpeg

thumbnail_WechatIMG1495.jpeg

WechatIMG1495.jpeg

large_WechatIMG1496.jpeg

medium_WechatIMG1496.jpeg

small_WechatIMG1496.jpeg

thumbnail_WechatIMG1496.jpeg

WechatIMG1496.jpeg

Shanghai

weaving

Material：Wheat straw, steel and cloth Size：950*460*450mm&nbsp;The original aspiration of the design is “Recycling bring out best of nature”. Wheat is one of the three major grain crops in the world. As we get ear from the wheat every year there were quite a lot of “useless” straw left in the nature. We use the recycled wheat straw as our raw material, fill them in the aligned mold and get desired shape with steel plate moulding, a straw chair comes into shape after these processing. What’s particularly interesting is the special treatment to the cross sections of the chair. For one side of the chair, the cross section was cut neatly and carefully polished, showing rootstock in the profile. For the other side of the chair, the growth texture was reserved to demonstrate great vitality of the wheat.&nbsp;As a young design firm in China, Roarc Renew would like to contribute the recycling of nature with interesting and pragmatic designs that not only environment friendly, but also have its unique logic and implications.

Recycling of Herb

Material：Metal, resin, comprehensive material Size：360*300*1470 mm&nbsp;It extracts elements from traditional classical cultural processes and re-creates them through contemporary technologies. After trying different weaving techniques, it selects the "random weaving" form of rattan wicker weaving, then generates parametric models and adopts photocuring 3D printing production. Under the premise of maintaining the "random weaving" form, it explores the route of rapid generation and explores new directions for traditional weaving in the current industrial products market.

X Worm Light 

Material：Meshing Size：Variable size&nbsp;Two roles growing up together, they touch, communicate, feel.&nbsp;Planting, watering, cutting, washing, sun burning, spinning, crocheting, steaming,&nbsp;When they have been made, time inside the line, time cover by them.Time besides them, time between us.&nbsp;

GROWING

Material：pvc Size：1200*1400mm&nbsp;Chinese knots have appeared throughout its long history in garments, homes, armaments, carriages and horses. They have played a functional, decorative and even symbolic role. We have rediscovered Chinese knots that have lost much of their use today.We realised that the appeal of the knot lies in the sublimated use of a dry two-dimensional material (a rope). And our design was based on this thought, to see if we could build on this and give it a new use. So we came up with inflatable.&nbsp;

Sofa of Knots

Material：bamboo，decron wire Size：1300*1350*1150mm&nbsp;Ooo is a bamboo weaving seat. Countless bamboo stripes are interwoven to form a round morphine object. Each stripe as a single element is fragile, but in combination with hundreds of others, a solid form is possible. A form which can support a person. The bamboo strings are joint by Decron threads which are stitching the pieces together. That means the woven pattern is held in form by a loose connection. Cutting all stitches would result in a collapse of the entire work. In one hand this technique enables a safe a durable joining and on the other hand the possibility to separate and up cycle the materials, once the lifetime of the object comes to an end. The bamboo is kept in natural color, it is just coated with transparent natural wood oil to prevent moisture and rapid aging of the material.&nbsp;The material as well as the technique allows the object to be surprisingly light considering the large size of it. Ooo shows vividly the unique natural qualities of natural bamboo - light, flexible, durable.

Weaving Craft: Lihuai Qian Material：Bamboo, Stainless Steel Size：370*300*1650 mm；330 550*1650 mm&nbsp;The Woven Light Series features hand-woven bamboo pieces embedded into a metal frame, coupled with a four-axis linkage structure and light projection, presenting a dynamic interplay of light and weaving, resulting in a completely new visual experience.Not only is the Woven Light Series a lighting fixture, but it is also a dynamic installation that combines traditional craftsmanship with mechanical structures, redefining weaving through a modern design language.

Woven Light Series 

Material：Metal Size：820*880mm&nbsp;The Knitting is a simple structure of the order of repeated use. This knitted Cardigan is a regular oversize garment hook-also known as the sealing hook, we are often used in the mini size of the hook for the skirt waist and collar. A large winter coat is more commonly used. We use the hook up and down, left and right different combinations, repeated arrangement, just like the method of knitting sweaters, woven into a cardigan with a pocket.

Untitled

Material：polyester, TPU Size：400*480mm；210*340mm&nbsp;This project is a textile exploration through which we use new knitting material and technology to extend traditional knitting technique to a new level. We ran various knitting tests with a mix of polyester thread and meltable TPU thread, then use heat to melt TPU part to create the visual effect of knitting pattern being embedded in translucent film. In terms of utilizing, we use plastic bag as a symbolic medium to show the mingling of modern and traditional. This exploration is our way to discuss a potential of traditional crafting integrating into modern technology.

mpossible Knit

Material：Stoneware pottery Size：650*600*910mm&nbsp;This project revolves around the concept of “bamboo weaving". Sun Yue extended her imagination originating form the orderly layered weaving process. The twists and mutual supports of bamboo strips contexture a stable structure though still remaining relatively independency, as if the boundless universe is formed by the weaving of thousands of planets’ orbits through time and space, and also as a metaphor of every individual performing its own part in this modern society.&nbsp;Sun Yue tried to set up this dialectical interconnection by choreograph a small unit of clay experimentation, and transformed this microcosmic interpretation in an abstract way with the touch of sensibility and instinct. Clay is constructed by the primeval method of coli-building, three kinds of clay are intertwined in the process of layering. In the process of building up the structure, the orbits of three bodies of clay are established through time and space. Meanwhile the existence of artist’s body is also recorded within the negative space of the structure existing as the fourth party of the whole sculpture.&nbsp;

Curve of lost frames 

Material：Porcelain Size：φ180*170mm;&nbsp;φ140*200mm;&nbsp;φ180*140mm;&nbsp;φ180*140mm&nbsp;“Wisp” is a quest of lightness and harmony. I wanted to express the simplicity of geometric structure through filaments of clay. Layers of hand extruded threads hold up the form and create a sense of rhythm, placid and yet spontaneous. The structure itself manifest a transformation of technique and aesthetic, a reconstruction of a quintessential form.

Wisp 

Material：teak wood,metal,leather Size：1700*800*900mm&nbsp;Eskimo Chaise Lounge is inspired by a handmade Inuit dog pull sled from the 18th century, where they used timber, steel and leather strings to create a vehicle that can support an individual and their cargo. I was quite surprised by how ergonomic and functional this type of sled design can be. Objects that have been fashioned by hand and aged for a long-time can give a sense of nostalgia and reassurance. I always want to be able to convey this shared sense of reliability and comfort to people when designing pieces, such as furniture.&nbsp;&nbsp;I have always had a strong appreciation for the skill, precision and effort in traditional Chinese wood joinery and western leatherwork techniques; it was always an obsession to combine good crafts and create derivatives of new things. The Eskimo is a unique piece. The Chaise structure is made of 5-axis CNC teak wood with a steel metal frame embedded inside to achieve a minimal support solution. The Lounge seat surface is handwoven by leather straps in a particular order, then fixed with brass screws.

Eskimo Chaise Lounge

Material：wire，light bulb Size：alterable&nbsp;The original aspiration of the design is “Recycling bring out best of nature”. Wheat is one of the three major grain crops in the world. As we get ear from the wheat every year there were quite a lot of “useless” straw left in the nature. We use the recycled wheat straw as our raw material, fill them in the aligned mold and get desired shape with steel plate moulding, a straw chair comes into shape after these processing. What’s particularly interesting is the special treatment to the cross sections of the chair. For one side of the chair, the cross section was cut neatly and carefully polished, showing rootstock in the profile. For the other side of the chair, the growth texture was reserved to demonstrate great vitality of the wheat.&nbsp;As a young design firm in China, Roarc Renew would like to contribute the recycling of nature with interesting and pragmatic designs that not only environment friendly, but also have its unique logic and implications.

Biānchì

Material：PLA 3D-printing Size：110*110*26mm; Φ208*49mm; 200*200*3mmBy scientifically deconstructing and studying the structure of traditional Buyi weaving, the weaving patterns are translated into editable, modifiable and diffusible flat geometric shapes. Together with the results of in-depth research into the field of the Qianyinan Buyi minority, Nongzao team has digitised and reconfigured the weaving patterns through different logical relationships, generating random patterns from the traditional weaving motifs through computer programming. The perceptive traditional warmth creates many possibilities in the rational digitisation, which finally integrates with 3D printing technology to become a completely new representation.In the field, a random combination of digitised perceptual graphics is produced by converting sounds, images and perceptions into a quantifiable graphic, with intervening traditional woven patterns. We took the sounds collected from the cotton fields, the looms, the songs of the traditional Buyi Nuo play, the laughing and joking of the labourers and the various ditties of life on site, and transformed them into a computer language, interfering with the original traditional weaving patterns through programming to produce new parterrns, and then by applying them to different products, we found our means of design for the sustainability of traditional culture. Might the linking of sound and picture from the vernacular with the language of contemporary computing create a traditional direction for future inquiry? &nbsp;

Weaving X-Y-Z - Interpretation of Qianyinan Buyi’s Traditional Weaving with 3D Printing Strategies

Material：Recycled Stock Yarn, Metal Size：3600*1600mm&nbsp;"Metal Forest" is a textile installation that offers a thought-provoking commentary on the complex relationship between nature and human civilization. The installation, fashioned entirely from recycled stock yarn, was 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. The work represents a visionary response to the growing concern over the impact of human activity on the environment, exploring the ways in which nature can reclaim and transform man-made structures.&nbsp;"Metal Forest" 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.

Metal Forest 

Material：Wheat straw, steel and cloth Size：&nbsp;800*300*50mm（Variable size）&nbsp;The project has been an exploration of weaving combined with other technologies to produce a structural system. The project as presented is a speculation on a woven object that has dynamic structural performance depending working on the principle of “granular jamming”. Historically speaking, weaving, the process of forming fabric by interlacing threads, has been to produce fabric which is mainly associated with being pliable and soft. While there are examples of weaving used to produce strong and resilient structures like FRP (fiberglass reinforced plastic) or bamboo baskets, they remain static in their performance characteristics and loses many of the characteristics we generally associate with weaves and fabric.Our object is a fabric which has been woven with tubes filled with beads and chains. When the tubes with the infill are subject to a vacuum, the loose infill clumps up and forms a structurally stable matrix and want to stay in that shape. Without the vacuum the tubes are flexible and the fabric matrix it is woven into is pliable. One can imagine this as a flat packable object that can be deployed to take an arbitrary shape and then be stiffened after it has taken a particular shape. Compare to a pneumatic (positive pressure) structure which we also tried, the woven matrix can only take on one shape after it has been pressurized.&nbsp;

Granular Jamming Weave 

Material：Spring Steel, Outdoor Ropes Size:&nbsp;φ440*380mm;&nbsp;φ440*1220mm&nbsp;BOUNCY CAGE STOOL is inspired by traditional fishing ground cages. The ground cage used to be an excellent tool for catching shrimps and crabs. The hand-woven web connects metal rings, which could be folded for easy transportation. However, the mesh is too small to be conducive to the sustainable development of fishery resources, so the ground cage is gradually banned. BOUNCY CAGE STOOL uses different weaving materials to create new application scenarios for this traditional fishing tool. The metal rings made of spring steel have both supporting strength and certain elasticity. The spaced metal rings are connected to form a whole by weaving with outdoor ropes. The bench could be bent and partially folded according to needs, and you could sit on it to experience the fun of rebounding. It could also be fully folded and stored when not in use.

BOUNCY CAGE STOOL

Material：pearls, silver-plated red copper, gold-plated Size：280*160*60mmThe Big Dipper shines and rotates, out of which nebulas and galaxies are formed, time and space perfectly unite, and the twenty-four solar terms are thus born. The Big Dipper changes in position and the stars move in their orbits; the twenty-four solar terms converge into the heart of heaven, where seven stars of the Big Dipper glitter. It leads us to look up and observe astronomical phenomena, look down and observe the geography, look at ourselves and reflect on human relations.&nbsp; The virtual gold thread taken from the traditional filigree craftsmanship is woven into a nebula-like ribbon signifying 'the moving stars and the rotating Plough'. When it's worn around the eyes, twenty-four pearls for twenty-four solar terms dance to the wearer's movement. High time to join us and have your glistening eyes dance to the rhythm of heaven and earth. &nbsp;

The Twenty-Four Solar Terms of Heaven

Material：stone Size: Φ580*1250mmWeaving can be a philosophy and way of thinking. Idea of creating stronger, bigger, lighter object by joining threads and forces. Weaving is also a playful thought that can highlight patterns, color combinations, merging materials, miss-matching in general.&nbsp; My fascination with stones goes far in the past. Ever since first time I saw paper thin marble i was thinking of weaving them. Stones are not something that naturally goes hand in hand with weaving craft. This experimentation is about expanding limits of what is typical "weaving material" and finding solidarity with stones to become one of them. Structure it self is created by repetitive movements that forms one circular structure reming us of its infinity. Like a dancing choreography, each stripe is twisting along same movement. Central light is there to underline the beauty of nature stones, their age, colors, transparency...&nbsp;

Infinite in time and space

Material：Tibetan highland wool Size: 2500*4250mm&nbsp;In traditional Chinese artistic works, the dragon represents the Son of Heaven and male power and often takes the absolute central position. The inspiration for this fabric piece is based on an extremely rare tribute rug from the Qing Palace for the birthday party of Empress Dowager Cixi in the late Qing Dynasty. A flying dragon is coiled around each side of the tribute rug, playing with wish-fulfilling pearls among clouds and bats, but at the center of the tribute rug are two phoenixes, each holding a flowering twig. This is an expression of the rising consciousness of female power represented by Cixi in the rarely recorded traditional Chinese paintings and fabric graphics. It was also from then until the end of the 19th century that the movement of female independence in China began to emerge. On the basis of this traditional Qing dynasty tribute rug, the designer uses the method of ink splashes typically seen in Chinese calligraphy and paintings, allowing the blue ink flow on the rug surface to transcend time and history. Through the creation of this fabric piece, the designer wants to express that Yin and Yang co-exist peacefully in the world and that human history is written by both men and women.

Indepengdent Women Part I 

Material：chrysophoron, 925 silver, pearl Size：950*460*450mm&nbsp;The original aspiration of the design is “Recycling bring out best of nature”. Wheat is one of the three major grain crops in the world. As we get ear from the wheat every year there were quite a lot of “useless” straw left in the nature. We use the recycled wheat straw as our raw material, fill them in the aligned mold and get desired shape with steel plate moulding, a straw chair comes into shape after these processing. What’s particularly interesting is the special treatment to the cross sections of the chair. For one side of the chair, the cross section was cut neatly and carefully polished, showing rootstock in the profile. For the other side of the chair, the growth texture was reserved to demonstrate great vitality of the wheat.&nbsp;As a young design firm in China, Roarc Renew would like to contribute the recycling of nature with interesting and pragmatic designs that not only environment friendly, but also have its unique logic and implications.

Vision 

Material: recyclable polymer materials Size: table φ840*400mm; chair 700*610*700(h)mm; floor lamp&nbsp;φ330*1780mm&nbsp;The OMEGA Knitting series involves three-dimensional knitting formed by continuous Greek letter Omega Ω shapes.&nbsp;Renewable polymer materials are used, which become semi-molten state by heating. The saturated wire diameter is continuously extruded in the Ω shape. According to different shapes of the weave, it winds upward and is firmly formed by the chemical bonds of mutual fusion in the semi-molten state.The texture on the surface of the work is formed by parametric auxiliary calculation, which increases the original and natural aesthetic expression.

The OMEGA Knitting Series

Material：Recycled newspaper Size：800*500*600mmThroughout history, there have been countless firing methods for ceramics. The kiln can be simply understood as a shell that can keep heat in, so any material can be used: rice husks, straw, mud, hole in ground, and brick kilns. When I received the invitation to weave something, I decided to use recycled newspaper as a fiber to weave a shell and to make a paper kiln. By weaving a kiln, visitors will understand the basic principles of firing.It takes a lot of time for me to have a deep understanding of weaving technology, so I chose to use the principle of weaving and combine it with my own profession to present a different concept of "weaving" to everyone.

Paper kiln

Material: stainless steel, wood, leather, ash wood Size: 450*480*750mm&nbsp;Weaving is a craft process that involves the transformation of thread to surface and then to three-dimensional form. By using laser cutting to create portions of the surface and combining the bending of thread and surface with weaving, traditional weaving techniques are transformed into ergonomic three-dimensional blocks.The design of the Bòji Chair chair is inspired by the most common rural object, the " bòji" (winnowing basket). Its classic weaving structure is reflected in the three-dimensional surface of the chair, which not only meets functional requirements but also enhances the structural stability of the chair, while being both aesthetically pleasing and durable.The innovation of the Bòji chair lies in the use of metal sheet laser cutting technology, which precisely controls the range and accuracy of the weaving. This not only preserves the beauty of weaving but also allows for mass production, reducing the threshold for manual production. By using this method of industrial production, we hope to not only inherit the beauty of weaving but also bring users higher quality chairs.

Bò ji Chair

Material：linen thread, viscose, wool yarn, cotton thread, wooden frame, LED and accessories, acrylic panel, metal connector Size：630*730*165mm&nbsp;In this work, I have transformed some fragments collected from different cities during my journey through different techniques and media, including the intangible cultural heritage handcraft Xiaoshan Lace, weaving, and LED animation, trying to link tradition and today’s technique language. In the LED animation, I decompose the traditional patterns expressed in the fabric, reassembled in the dimension of time, constantly generating new possibilities. For me, the most fascinating thing in urban landscapes is the infinitely evolving vein relationship between things behind the surface. Inspired by this, I have been exploring and expressing some linkages between things, between time and space in my own works.&nbsp;

Re-encode—Pattern XI-∞--LED Fabric II

thumbnail_5721669600987_.pic_副本.png

5721669600987_.pic_副本.png

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 - weaving

Robben Bai

Derek Chen

Tin Gao

Mona He

Christoph John

Chen Liang

Alexandre Chary

Xiaoxi Shi

Yue Sun

Kwan Tam

Hongchao Wang

Mugi Yamamoto

Gang Xu, Yatu Tan, Weibin Ye, Zixin He

XU Yanhui

Bill Yen

Jinghua Zeng

Zhang Fan

Jovana Zhang

Qi Zhang

Anaide Davoudlarian

Zhao Zihan

Caroline Cheng

Anbin Zhou

Rongrong Bi