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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 library

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Graduated from the furniture major of Guangzhou Academy of Fine Arts in 2012, he has always adhered to practice and exploration in the field of home life for more than 10 years of study and practice.The designer who has won the highest international design awards successfully in a row, immersed in the study of material technology in the factory workshop  from the beginning，then he was in the front line of furniture stores and understand consumers as a clerk, later, he entered the research and development of living space by real estate enterprises. Various cross industry practices and experiences have not constrained the development of his design, instead, it enables him to stand in different dimensions and makes his thinking on exploring and balancing the relationship between products, space and people's life more internalized and profound, and also lays a foundation for his brand road.As a designer with international vision, Mr Zhou AnBin proposes“ returning to original self ” ,  advocates starting from our own life and environment，carries forward local life culture，creates international oriented design which belongs our cultural value identity and benefits the public with contemporary aesthetic and international design language.

"DakHaan" takes the four dimensions of "self-confidence, self-sufficiency, freedom and freedom" as the brand core, and extends the four phases of "exploration, fault tolerance, remodeling and integration" as the product series.Among them, "seeking" represents the curiosity and exploration of human nature, and "leisure" as a necessary condition and catalyst promotes the behavior of seeking. Its series of products represent the possibility of exploring new materials, new processes and new forms.   "Remoulding" represents a spirit of leisure and self-reliance, reflecting inward on our past, reflecting on our traditions, and conducting speculation and innovation. Its series of products represent the inheritance and contemporary interpretation of past or traditional products. "Harmony" stands for the way for leisure people to get along with others, which is natural and harmonious. Its series of products integrate and excavate inward, integrate design into life, integrate localization and internationalization, and integrate traditional culture with contemporary culture. At the same time, the four product series complement, foil and blend with each othe¬¬r, creating an imaginary space beyond life for "leisure".

Zhou AnBin

Under the backdrop of energy shortages and the lingering pandemic, power restrictions in furniture factories and stagnation in logistics/shipping have become commonplace, resulting in vast quantities of semi-finished furniture accumulating throughout factory spaces. Witnessing this reality during factory visits, designers began contemplating: Can we use 50% production status and processing techniques to achieve 100% user experience and aesthetic satisfaction?

The "Half-Hundred%" series explores precisely this dynamic between 50% and 100% states. Through intense visual contradictions and impactful presentation, it aims to draw attention to and provoke reflection on environmental issues beyond our immediate living spaces.

The "Half-Hundred%" uses Ultrasuede® as a carrier to renovate and re-create the first sampling of Half-Hundred% lounge Chair, and the excellent performance of Ultrasuede® fits the theme of this exhibition, “The Color of Fabrics in a Moment of Delight”. “Half-Hundred%” is made from Ultrasuede® processed remnants that are hand cut for a delicate touch, and the creative extension of the tassel effect, together with the intentionally preserved natural state and sample tags, create a ingenious and environmentally friendly artistic expression. For the brand, this work is not only a re-creation and refinement of our work, but also a deepening and interpretation of the theme of “Moment of Delight”.

Half-Hundred%

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 Frank Chou, founder and creative director of Frank Chou Design Studio, is born to be interested in creativity and art. As a representative and independent designer with accumulation of working experience in Europe and maturity of design cognition, Frank Chou keeps capturing the essence of materials and objects, and creates elegant and significant design pieces. He has collaborated with renowned design brands home and abroad both as a designer and a strategic consultant. Over the past years, Frank Chou was nominated for Designer of the Year by industry organizations and authoritative media, and awarded Rising Talent Awards China in 2019 Maison & Objet and SaloneSatellite Award during 2016 Milan Design Week. In 2021, Frank Chou was invited to be the first mainland Chinese designer for Louis Vuitton Objets Nomades. Meanwhile, Frank is the curator of Talents area in Design Shanghai and initiator of the public welfare Create Cures, which aims to promote the development of public health in a designer's way.

Frank Chou Design Studio is driven by a cultural-centric philosophy, seamlessly intertwining modern technology, cutting-edge concepts, and traditional craftsmanship to propel China's design landscape in sync with global frontiers through innovative design solutions. Instead of sticking to one style, the studio focuses on solving problems creatively and exploring a wide range of design approaches. Specializing in product design, brand strategy, spatial design, brand consultancy, and exhibition curation, the studio offers comprehensive design services from strategy to execution. With its vertical exploration in product design, Frank Chou Design Studio has established long-term collaborations with numerous renowned domestic and international brands, providing design partnerships and strategic advisory services.

FRANK CHOU

Material | ALPI wood veneer with matte open-grain finish

True sanctuary transcends mere technical protection—it embodies a sustainable civilization, inclusive communities, and collective resilience when confronting the unknown.

Pixel’s exterior features ALPI Warp Frosty Grey wood veneer, a design by Piero Lissoni inspired by the ruled lines and grids of school notebooks. This graphic-inspired wooden texture transforms into a bold, modular architectural expression, turning crisis response into tangible, everyday design.

Here, "sanctuary" becomes an active survival aesthetic—where adaptability is woven into daily life, and true security emerges from embracing change and responding with creativity.

Pixel Side Table

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 Founder and design director of BENTU, NONGZAO and BUZAO.

A Chinese independent designer. For many years, Xu has been leading his design team to delve into the current state of the industrial system, focusing on the urban ecosystem and cultural development. Using humanistic design as the tool and sustainability as the idea, the team has been studying and innovating in the reusability of waste over the past years, fostering the green development of the environment and resources.

Founded in 2011, BENTU is an independent design brand passionate about experimentation and exploration, specializing in product design and innovation. Using design as the fundamental approach, the brand upholds simplicity and closely engages with local culture, reverting to the essence of demand. Pure and pristine, without anything excessive, BENTU honors functionality and the pursuit of free form. Behind all the forms and functions lies a sense of equality and care for all things on Earth. Every material, craft, and culture is appreciated without distinction of high or low, good or bad. There are no treasures or scraps; dirt and diamonds are of the same value as long as they are treated with sincerity.

Xu Gang

Material | Reclaimed coconut wood, recycled fishing nets, foam

In early September 2024, Typhoon Mokha struck the coastline of Wengtian Town in Wenchang, Hainan, like a raging beast, bringing violent winds exceeding Force 17. Countless trees were felled in the storm. “Even when trees fall, time does not stop.” The traces of disaster remain etched like memories in every curve and grain of the wood.

Re-Grow & Renew is a response to both reality and phenomenon—through investigation, documentation, innovation, and experimental collaboration, the project spans from pre-production prototypes to the revival of spiritual resilience. By reclaiming post-disaster materials such as fallen coconut trees, discarded fishing nets, and foam waste, the project breathes new life into debris. These transformed resources continue to serve the people of this land, embodying hope through tangible action.

Reactivation·renew

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PINWU Design Studio and Róng Design Library

Christoph graduated from the Italian design institution DOMUS Academy, bringing with him an international perspective and cross-disciplinary design experience applied to product design, material innovation, and cross-cultural design. Since joining the PINWU Design team in 2010, he has specialized in material research on traditional Chinese craftsmanship and contemporary design innovation. In recent years, he has engaged in deep collaborations with brands such as JIANGNANBUYI, TUSITA, Dongpeng IW, and JMC, spanning spatial design, artistic installation creation, material aesthetic innovation, and intelligent cockpit development.

Christoph John

Material | Ceramic fragments, reclaimed wood

CEWO is a sustainable design project centered on the reuse of ceramics and wood. The piece is composed of 105 ceramic shards from Jingdezhen and 69 reclaimed wooden pieces from the woodworking studio PINWU. Through a thoughtful combination of reconstruction and knotting, the materials are transformed into a new seating object. Each material is used to its fullest potential, embodying the idea of continuation and rebirth. In the future, these components may be reassembled again, continuing their lifecycle in another form.

CEWO

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Mei Shuzhi founded 702design in Beijing in 2010, where he serves as the artistic director.He draws inspiration from everyday life, seeking freshness and playfulness to explore new possibilities for design in daily contexts.

His works have garnered numerous accolades, including the New York ADC 96th Annual Awards Gold Prize, Tokyo TDC Prizes, the Special Prize and Gold Prize at the DFA Design for Asia Awards 2019, the GDC Best Awards and Jury Award, and the Gold Award at Award 360°, among others.

In 2023, Mei co-founded X Sign Space, where he served as initiator and co-curator for exhibitions such as "Big, or Small”，“Buy-in” and “THE WONDERLAND OF ARTIST’S BOOKS”. Between 2021 and 2024, he hosted a series of solo exhibitions titled Typography Exit（1-5）, and in 2024, he was honored as Wallpaper's Designer of the Year.

702design is an exploratory design studio. We find fresh and interesting elements from daily life, keep questioning and independent thinking, support design practice in experimental ways, to make design play a bigger role in life.

Mei Shuzhi

This work takes wrapping paper—a material typically regarded as secondary in everyday contexts—as the experimental subject to probe the boundaries of materiality. By exploring the subtle combinations and presentations of various printing techniques on paper surfaces, it reveals a vitality that surpasses the physical thinness of the material itself.

It replaces visually dominant traditional expressions with micro-narratives that intertwine color, texture, and temperature across multiple dimensions. Wrapping paper is no longer merely a tool for covering or concealing; instead, through repeated folding and unfolding, it is continuously redefined with new notions of “appearance” and “interiority.”

In this piece, material serves as a physical boundary between the known and the unknown. In an almost silent manner, it questions the intersection between matter and emotion, responding to an ongoing search for fragility, freedom, and the meaning of existence in a constantly shifting world.

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Ms Xu Yanhui, artist, knitting designer, supervisor of innovation at Donghua University of Shanghai, and founder of “Oasis Studio". She is based in Shanghai and London. She is committed to artistic creation with fibre materials. She participated in the touring exhibition "Get it Louder" in China and the exhibition "Pattern" a contemporary Chinese fashion art exhibition at Zheng Da Art Museum. In addition, many projects have participated in Milan Design Week many times and were exhibited at the Louvre in Paris. Especially, in 2013, the project "Sheng" was collected by the Museum of Cultures of Lugano(MUSEC) in Switzerland.

Since 2019, she has launched a series of artistic creation projects called " A Garden of All Things Woven with Yarn ". in 2021she displayed her independent solo exhibition "A Garden of All Things Woven with Yarn". in 2022, she presented her independent solo exhibition "Futureland" at APSMUSEUM in China. Moreover, this project invited participants in Design Shanghai in 2023. She was selected as one of the top ten high-end young creative talents in Shanghai, and one of the 50 Chinese original designers in Vision. Her exploration of artistic creation and academic research focuses on the infinite possibility of the artistic creation of fibre materials. She showed great passion for artistic creation during her studies at the University of Edinburgh and her travels in Europe.

Co-creating with nature Focus on a sustainable future

Xu Yanhui

The KNITTING LIBRARY creative knitting series draws inspiration from the immersive changing seasons and the diversity of natural life in an imagined future. The creative vision continually oscillates between the microscopic realm and the boundless universe—upwards to infinity and downwards to infinity. Concurrently, the series reflects narratively upon the intricate coexistence between nature and human activities. Entirely crafted from recycled yarns, these knitted artworks harness the endless creative potential of soft materials, exploring the beauty of texture and the perfection of craftsmanship.

Knitting Library

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Zhang Fan is a graduate of ROYAL COLLEGE OF ART. 

Ke Xiaolin graduated from ECOLE DUPERRE PARIS-(ESAA).

ZIZHIRAN is a textile studio that primarily engaged in pattern design, silk printing, dying, texture experiment such as，was founded in Hangzhou in March 2016. Our design philosophy is ‘TOUCH DESIGN’, which means we want to create a touchable design that include interesting things in life.

Zhang Fan Ke Xiaolin

Wire, beads, textile threads, and various fabric materials (including cotton, linen, TPU, Tyvek, etc.)

no bigger than35cm*70cm*70cm，35cm*25cm*25cm

Silver symbolizes that life is inherently wonderful. Without contrast and reflection, it is easy to be overlooked and forgotten. The shining beads and the leaping colors, through the reflection of silver, awaken the "sleeping" life.

It is the flashing codes hidden in the materials that truly joyful manifesto: the fluorescent lines are the exuberance of inspiration in the dead of night; Glass beads reflect the bits and pieces of life; Irregular mirror fragments piece together the swaying figure when laughing.

The crooked lines sewn by hand, the unrestrained stretching of rough edges, and the symbiotic collision of metal and fiber all convey the same declaration: Happiness is never a flawless finished product, but a vivid process woven from countless fragments - some rough, some dazzling, but each one truly emits "light".

Poetics of Fragments

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Associate Professor of the School of Industrial Design at Guangzhou Academy of Fine Arts

Leader of the CMF Direction of the Guangdong Province Key Lab of Innovation & Applied Research on Industry Design. 

Duan Lisha has dedicated over 20 years to the research and design practice of innovative methods driven by Color, Material, and Finish (CMF). She has led numerous CMF projects for prominent companies such as Kingfa, Covestro, GAC R&D Center, Anta, Lenovo, and Huawei. Her research in color emphasizes the construction of narrative logic within color systems and the development of effective marketing strategies. She excels at translating academic color theory into practical applications in the commercial sector. In terms of material usage, her work focuses on expanding the range of application scenarios and enhancing it flexibility of use. She is deeply committed to the study and practical exploration of material-driven design innovation methodologies.

Duan Lisha

Technology veneer-ALPI 18.60｜18.61｜18.93｜RA033｜L29.279N etc.

By exploring both the rational and emotional qualities of materials, this design expands the possibilities for material application and encourages innovation. The project focuses on demonstrating the logic behind collage design and shares the material-driven design process through three sets of collage examples.

Group 1 – 18.60｜18.61: Utilizes the material’s distinctive four-color square cells to create combinations that enhance visual illusion effects.

Group 2 – 18.93: Applies the material’s principle of color assimilation to deconstruct and reorganize forms, expanding the potential for material reconstruction.

Group 3 – RA033｜L29.279N: Draws inspiration from fabric patterns and applies it to wood veneer collage, exploring the transformation of materials and techniques across different domains.

Technology veneer collage research

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Wu Jian'an, a visual artist, is a pr ofessor and doctoral supervisor at the Central Academy of Fine Arts.

Wu Jian'an’s artistic creations span a variety of mediums including painting, sculpture, paper-cutting, and installation. Through seemingly distant and unrelated contexts, his work expresses the eternal aspects of human civilization and awakens the hidden, subtle yet grandiose subconscious within us. In 2017, his work represented China at the 57th Venice Biennale. His major works are held in the collections of prestigious institutions such as the Metropolitan Museum of Art in New York, the Oscar Niemeyer Museum in Brazil, the Fukuoka Asian Art Museum in Japan, and the White Rabbit Gallery in Australia. In 2019, Wu Jian'an was featured in *Chinese Imagination*, a documentary produced by CCTV Documentary Channel.

Wu Jian'An

"Pastiche" is a series of artworks that reconfigure stones from various geological eras, each bearing distinct natural imprints, into geometric cubes through precise cutting and skillful assembly. These pieces are not merely collections of materials, but visual representations of the passage of time, the reconstruction of space, and the layering of history. The texture and color of each stone function as solidified segments of time, conversing within their new structures to form a subtle yet profound order. The work challenges the inherent forms of the stone, extracting it from its original geological space and placing it into a new one constructed by human intent. Through their unique compositions, these cubes invite viewers to contemplate the lifecycle of materials and to discover harmony within diversity, and new meaning within historical sedimentation. They are meditations on reshaping and coexistence, quietly showcasing the delicate balance between the natural and the artificial.

Pastiche

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Elaine Yan Ling Ng is a British-Chinese designer renowned for her interdisciplinary approach that fuses textiles, electronics, biomimicry, and craftsmanship. A graduate of Central Saint Martins with an MA in Textile Futures (Distinction), she is the founder of The Fabrick Lab, a Hong Kong-based studio dedicated to creating responsive materials and installations that bridge nature and technology.

Dubbed the “Techno Fairy” by Elle Deco, Elaine's work has garnered international acclaim, with exhibitions at the V&A and Science Museum in London, Art Basel, Design Miami/Basel, and the Triennale Design Museum in Milan. She has collaborated with global brands such as Swarovski, Nissan Design Europe, and Nokia Design Beijing. Her accolades include the Swarovski Designer of the Future Award, Design Anthology’s Emerging Talent Award, recognition as a TED Fellow, and inclusion in AD100 by AD Italia as "The Game Changer" .

Elaine serves as a Design Council Expert in the UK, contributing her insights to national design strategies. In her role as Chief Material Innovator at Nature Squared, she spearheaded the development of CArrelé, a sustainable tile collection crafted from upcycled eggshells, exemplifying her commitment to regenerative design. Her work not only pushes the boundaries of material innovation but also emphasizes sustainability and social impact, empowering communities and preserving traditional crafts.

Elaine Yan Ling Ng

Material | Ceramic Porcelain, Bamboo, Copper

梦 (Mèng) – Dream: Symbolizes imagination, introspection, and the ethereal qualities of the installation.

影 (Yǐng) – Shadow: Represents the interplay of light and form, echoing the delicate silhouettes created by the materials.

流光 (Liú Guāng) – Flowing Light: Conveys the dynamic movement and shimmering effects produced by the interaction of copper, bamboo, and porcelain.

Together, 梦影流光 paints a vivid picture of "dream shadows and flowing light," encapsulating the installation's themes of transformation, material interplay, and the transient beauty of light and form.

Reverie in Motion

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Chen TongYi explores everyday objects through material experimentation and craftsmanship. His work often places objects in different environments and contexts, challenging conventional perceptions of materials and reimagining their applications. His projects have been featured in international exhibitions such as Milan Design Week and London Design Festival.

Chen TongYi

Table lamp   H 36cm / L 15.7cm / W 20.5cm

In a workshop carpeted with wood shavings and draped in coils of iron wire, an assortment of barrels—finished and half-built—crowds every corner. For over sixty years, a single artisan has refined this space: seemingly chaotic yet governed by its own precise logic. Here, process outshines product. This collection deconstructs barrel geometry and craft, reassembling its elements into table lamps, floor lamps, and related objects.

The Cooper’s Workshop Collection

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2010 MA in Experimental Visual Arts, École Nationale Supérieure d'Art de Limoges-Aubusson, France

Began paper-based artistic practice during French studies (2006-2010), trained at historical papermaking museums to master Franco-European techniques. Since returning to China (2010), has systematically documented traditional papermaking heritage across provinces. Established studios in Suzhou (Jiangsu), Danzhai (Guizhou), and Shanghai's Xinchang Ancient Town. Relocated studio to hometown Shaxian County, Sanming (Fujian) in early 2023, maintaining creative practice rooted in paper material exploration.

Studio M.Noir traces its origins to the paper workshop period (2013-2015) when artist M.Noir resided in a Miao ethnic village of Qiandongnan Prefecture, Guizhou Province. Having relocated to Xinchang Ancient Town in Shanghai's Pudong District before returning to its founder's ancestral home in Shaxian County, Fujian Province in early 2023, the studio dedicates itself to contemporary paper art creation grounded in traditional papermaking craftsmanship. Our practice encompasses experimental material research, applied paper design, limited-edition production, and specialized workshops exploring paper's creative potential. Through these interdisciplinary engagements, we continually expand the conceptual boundaries of handmade paper in contemporary art and design – a journey that ultimately seeks to realize paper's essential ontology: making paper truly "paper".

Noir

Material | Rush grass fiber, stainless steel mesh

The Eastern concept of *shanshui* — literally "mountain-water" but fundamentally a metaphysical cosmology — now petrifies into symbolic specimens amidst mechanical gears. Data deluge freezes its essence into replicable visual parameters, dissolving the divine dimension inherent in this spiritual cartography. Hidden within the 90-degree angles of Han Dynasty paper molds lies the genetic code of technological rationality. Through millennia of evolution from bamboo slips to digital screens, human cognition remains confined within invisible grids, echoing the square logic of papermaking's primal geometry. When the vanishing art of rush weaving molecularly merges with paper pulp, these cellulose fibers reconfigure into material poetry — a belated cultural recombination translating ancient craftsmanship through the warp and weft of modernity. 

Shanshui (Mountain-Water): A Spiritual Cartography

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founder and principal architect of LU+Architects

He earned his bachelor's degree from the School of Architecture at Tsinghua University in 2000 and subsequently pursued a master's degree at the Peking University Center for Architectural Studies under the guidance of Professor Yung Ho Chang. After graduation, he worked at Atelier FCJZ (Very Architecture) for three years before co-founding Duoxiang Studio in 2006. In 2017, he established his independent practice, LU+Architects.  

Lu Xiang is dedicated to exploring the possible relationships between the material world and human body, perception, consciousness, and spirit through architectural practice. His notable works include the Vanke Pavilion at the 2010 Shanghai World Expo and the Renovation and Expansion of Wuzhen North Granary, among others. His designs have been recognized with prestigious awards such as the DFA Asia Design Awards Gold Prize and the Iconic Awards: Best of Best in Architecture.

LU+ Architects was founded by Lu Xiang in 2017 in Beijing. The studio is dedicated to exploring the potential relationships between the material world and the human body, perception, consciousness, and spirit through architectural and artistic practices. By grounding personal bodily experience in materialized forms, the studio imbues cold technology with human warmth, seeking to rekindle perception through physical engagement.

Lu Xiang

Material| Porous m aterial at a visible scale

In both the microscopic and macroscopic worlds, 'emptiness' constitutes the majority of existence. The discussion of 'porous materials' in this exhibition is grounded in the scale recognizable to the human eye, with its foundation rooted in the rationalities of porous materials: low density and lightweight properties, high specific surface area (surface area per unit mass/volume), thermal and acoustic insulation, energy absorption and buffering capabilities, economic efficiency and sustainability advantages, among others.  

It is precisely due to these rationalities and more that porous materials are widely present in nature (coral, animal bones, natural sponges, cork, pumice, natural travertine, etc.) and extensively applied in the human-made world as base materials (paper, aluminum honeycomb panels, foamed concrete, foam glass, etc.) and industrial processes (e.g., foam ceramics, metallic foams, honeycomb activated carbon filters and screens of various materials, etc.).  

We define as 'future-oriented porous materials' those innovations in concept, cognition, and material science that expand porous materials from their traditional roles as base or industrial materials into surface materials and everyday applications."  

Future-oriented porous materials

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born in 1995 in Jiangsu, China, is currently based in Shanghai and Nanjing. She received both her Bachelor’s and Master’s degrees in Visual Communication from Nanjing University of the Arts.

Her practice centers on the contemporary artistic application of traditional plant-based dyeing. Drawn to the interplay of ink and rainwater on rice paper as a child, and fascinated by the diffusion of blue ink in clear water, she was naturally captivated by the scent of plants and the evolving colors of botanical dyes over time. Inspired by subtle moments in daily life and natural phenomena, her work captures fleeting scenes in nature, exploring the interactions between plant dyes and various media. Through this process, she reflects on the relationship between materials, nature, and humanity.

Yan Rui

Indigo, persimmon lacquer, paper, beach waste and other mixed materials

My hometown is a coastal city that hosts the world's largest nuclear power plant in terms of installed capacity. The Fukushima nuclear disaster and the subsequent discharge of contaminated water into the ocean have deeply affected the emotions of its residents. The release of nuclear wastewater has led to varying degrees of pollution in the soil, air, and marine life beneath the sea.

This artwork employs indigo and kakishibu to dye paper—two plant-based pigments symbolizing two seemingly identical types of water. It visually represents the different levels of contamination beneath the ocean’s surface. The discarded waste on the shore and the nuclear wastewater are both consequences of human actions. Beyond addressing the impact of nuclear pollution, this work seeks to emphasize how human behavior fundamentally shapes the fate of the ocean.

Fading Seawater

Inspired by the childhood game of cat's cradle—where a simple looped string transforms through collaborative finger movements into endless imaginative forms—this chair reimagines the nostalgic pastime in carbon fiber.  

Mimicking the interlaced patterns of the game, **Chair With Cat's Cradle**employs precisely anchored carbon filaments, woven into a structural yet dynamic design. Each twist and knot evokes the joy of shared play, while the material’s strength and lightness introduce an element of futuristic surprise.  

Chair With Cat's Cradle

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Artist-in-Residence, National Yunlin University of Science and Technology, Taiwan

Creative Product Developer, National Taiwan Museum of Fine Arts

Creative Product Developer, Museum of Contemporary Art Taipei

Zhou AnBin

FRANK CHOU

Xu Gang

Christoph John

Mei Shuzhi

Xu Yanhui

Zhang Fan Ke Xiaolin

Duan Lisha

Wu Jian'An

Elaine Yan Ling Ng

Chen TongYi

Noir

Lu Xiang

Yan Rui

Zhou AnBin

Wu Jinwei

Zhao Yun

Zheng Yi

Li Gang

Zhao Zihan

Wang Qin