慢物质-弥生
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项目名称 Project Name:慢物质-弥生 Xi Mu Zuo-Mi Sheng Series

客户 Client:慢物质 MOMGAGI

创作年份 Year:2019-2020

设计总监 Design Director:曾令波 Zeng Lingbo 刘志炼 Liu Zhilian

外观设计 Appearance Designer:曾令波 Zeng Lingbo

结构设计 Mechanical Designer:刘志炼 Liu Zhilian

 

 

项目创作背景

Project Background

 

2016年,慢物质创立独立品牌“锡木作”,致力探索锡与多材质的跨界实验,重新发现锡这种传统金属在材料美学、器物表达、艺术创作上的更多可能性。

 

纯锡质感柔润,璀璨而温和,所制器物因其极佳的安全性、散热性及密闭性。在中国手工业世上,至少1500年前,锡已经作为日用器物的常用材料,被历代工匠研究、创作。

 

作为人类最早发现的金属之一,千百年来,锡工艺形态纷繁复杂,前人成果灿若星河。站在文化裂变与时代快进的路口,设计师还能做些什么?


In 2016, momagi established an independent brand "XiMuZuo". As an independent product brand launched on the platform, Ximuzuo is committed to exploring the cross-border experiments of tin and multi-materials, and rediscovering the more possibilities of tin, a traditional metal, from aspects of material aesthetics, artistic expression and artistic creation.

 

Pure tin has a soft texture, bright and mild. The manufactured objects are excellent in safety, heat dissipation and airtightness. In the Chinese handicraft industry, at least 1,500 years ago, tin has been used as a common material for daily objects, and has been researched and created by artisans.

 

As one of the earliest metals discovered by human beings, tin technology has been complicated for thousands of years, and the achievements of predecessors are brilliant. What else can designers do at the intersection of cultural fission and fast-moving times?

 

 

 

 

 

 

 

项目问题与解决方式 Problem Statement and Project Solution

事实上,锡远比我们想象的更为神秘,有趣。如果放弃传统的造物经验,让锡仅仅作为锡本身,以孩童之心去观察、解放它的物性本能,这一定是意见很酷而有意义的事。

锡与木头的融合是我们耗时最久的实验。除此之外,我们还想把一块融化的锡放在水中爆炸,看看它的反应——事实上我们就这么干了。当然还包括编织、缝纫、捶打、着色、金属混合、以及使用各种奇奇怪怪的东西去压出纹理,比如树叶、地板砖或者甲虫蜕下的外壳。

这些疯狂而富有探索精神的实验,让我们发现了锡这一材料的各种可能。其中一些实验手段正在被用于稳定的器物生产,另外一些则还处于探索过程之中。

Actually, tin is far more mysterious and interesting than we thought. It must be cool and meaningful to observe and liberate its physical instinct with the heart of a child. The fusion of tin and wood is our longest experiment. Beyond that, we want to explode a molten tin in water and see how it reacts - in fact, that's what we did. Of course, it also includes knitting, sewing, beating, coloring, metal mixing, and the use of strange things to press out textures, such as leaves, floor tiles or shells shed by beetles.

These crazy and exploratory experiments have led us to discover the possibilities of tin as a material. Some of these experimental methods are being used to stabilize the production of utensils, while others are still in the process of exploration.

This exhibition takes a large number of unique material -"tin" for physical production, including tin plate, melted tin castings, tin foil, tin wire, etc., and in the course of the activity, guiding the audience to personally experience various characteristics of tin: low melting point, soft etc, so that the audience has the opportunity to see the other side of this metal material unknown.

 

创作过程 & 结果呈现 Creation Process & Result

锡与木头的融合是我们耗时最久的实验,也是本系列最具代表性的成果。

在中国人的生活中,木材的大量使用是普遍现象。以紫光檀为例,由于其生长特性导致木材有大量裂缝、虫孔等瑕疵,全行业中,其平均使用率低于15%,边角废料普遍被作为燃料处理,造成大量浪费。

一种近乎疯狂的、不可思议的创想被提出来:将锡融化填入残破木材内部,使之融合成一个全新整体,填入部分则呈现出各不相同的自然笔触。——经过2年探索,我们攻克并完美掌握了这一创新技术。

通过锡与木的融合制作器物,填补了木器加工及金属技艺史上的空白,美学体验亦让人耳目一新,富有积极的时代意义。

The fusion of tin and wood is our longest experiment. In the lives of Chinese people, the extensive use of wood is a common phenomenon. Taking purple sandalwood as an example, due to its growth characteristics, the wood has a large number of cracks, wormholes, etc., and the average utilization rate of the whole industry is less than 15%. The corner scrap is generally treated as a fuel, causing a lot of waste.

An almost crazy, incredible idea was put forward: the tin was melted into the broken wood and merged into a whole new one, and the filled parts showed different natural brushstrokes. —— After two years of exploration, we have overcome and perfected this innovative technology.

Through the fusion of tin and wood, it fills the gap in the history of wood processing and metal craftsmanship. The aesthetic experience is also refreshing and has a positive era significance.

 

 

 

 

 

 

 

 

 

如何理解项目与“人文湾区 ∙ 温暖的设计”这一主题的关联性?How does the project reflect to the exhibition theme "Cultural Bay Area • Humanistic Design"

设计不仅是解决日常问题的手段,还应该思考更深层的“人“与”物“的哲学关系。通过设计与材料、新技术的融合,修复人类文明发展对自然造成的创伤,并由此启发我们对于“物”本身的重新理解与尊重——这是善意的设计,也是温暖的设计。

在一个必然到来的虚拟的时代,“物”本身成为某种关于真实的、温暖的、富有情感的象征。手艺的价值被重新发现,而中国当代的设计师和匠人们,已经不再满足于作为传统文化的被动接受者,或者西方设计潮流的跟随者。我们,以及更多与我们有着共同志向的同行们,正在回归到文化的根部,去创造出更多兼具当代美学与人文关怀、本土关怀与国际视野的作品,成为延续数千年中国民艺传承序列中,最新写入的部分。

In a virtual era, which would be a certainty, “material” itself is a symbole of reality, warmth and emotion. The rediscovery of the value of craftsmanship has been achieved, but the Chinese designers and craftsmen of the time are not satisfactory of being a passive receiver of tranditional culture nor a follower of the trend of westen design. We alongside with the peers holding the same ambition are returning to the root of the culture to create more works with modern aesthetics, humanistic care, local concern and internationall horizon. And these would be the fresh blood in the inheritance sequence of the Chinese Folk Art with the continuation of thousands of years.·