Liliana Ovalle is a London-based designer from Mexico who graduated from the Royal College of Art in 2006. Her work includes commissions and production pieces for Plusdesign Gallery, MAXXI Museum and Nodus amongst others. Her designs, diverse in materials and techniques, reflect different themes and processes, from referencing situations observed in the urban context to exploring vernacular craft techniques.
Her work has been selected for multiple exhibitions including Design Miami, Gallery Libby Sellers and Museo Poldi Pezzoli. Her pieces Sinkhole Vessels are part of the permanent collection at Museum of Arts and Design in New York, and her table Colour Me Red was recently acquired by the Centre National des Arts Plastiques in France.
Since February 2011 Liliana is a researcher at the Interaction Research Studio, Goldsmiths University of London.
MAIZ MASA ORIGEN,
RESTORING MEMORIES
32 pieces created in collaboration with 32 Mexicans living in Beijing (32 pieces that evoke the 32 states in the country), made in a workshop inside the main venue, in a process of malleability, tactile memory, texture, creativity, roots and identity
Ceramic Design
MECATE STUDIO
MAIZ MASA ORIGEN, 恢复记忆
整套设计由32款展品组成，是由32位生活在北京的墨西哥人在合作设计并在博物馆的一个工作室制作，32的数字意味着墨西哥的32个州，制作过程中，能感受到它们的质地和创造性，并唤醒记忆，追溯文化根源，重塑身份认同。
Tradition and Identity Research
NEOCRXFT
The OBJECT OF THINKING THE OBJECT
The Object of Thinking the Object is an original project by Ismael Rodríguez that derives from the reflection about our physical, spatial and conceptual relations with the world of things, understood by philosophy as the conjunction of references that make reality a framework of meaning.
The OBJECT OF THINKING THE OBJECT
“The Object of Thinking the Object”是一个来源于对世间万物本我、空间和意识关系的思考的原创项目，在哲学中被理解为让现实成为充满意义的框架。
HUMUS LUDENS
Materials and Methods
MATERIAL STRESS
Processes and traditional craft materials developed in the Yucatan Peninsula are the starting point for “Material stress”. In this collection, Humus Ludens experiments with Ceiba wood, the sacred tree for the Mayan culture.
MATERIAL STRESS
在尤卡坦半岛研发的工艺和传统工艺材料为“Material stress”奠定了基础，在这个系列中，Humus Ludens使用木棉木和藤本植物进行实验。
木棉是玛雅人心中的圣树，他们相信它的枝条撑起了天空，他的根脉连接了地下世界。同时，藤本是一种广泛用于玛雅人传统房屋建造的自然纤维。
dISEÑO MÁS ALLÁ DE LA TRADICIÓN
México cuenta con una larga tradición artesanal. La diversidad de métodos, materiales y simbolismos que posee ha sido una fuente inagotable de inspiración para el diseño contemporáneo. En la actualidad, la herencia de las culturas tradicionales se fusiona con nuevas técnicas de producción, con las tendencias globales y con los discursos de las generaciones más jóvenes para crear diálogos innovadores entre pasado y futuro.
Éste eje temático muestra a los diseñadores que han decidido acercarse a las raíces de la artesanía mexicana, ya sea para inspirarse en ella o para renovarla. Una mirada crítica a nuestra herencia ancestral a través del diseño contemporáneo.
Palabras clave: Neo-artesanía, tradición, renovación, responsabilidad social, diversidad cultural
传统跨界
墨西哥有着悠久的手工艺历史，这些传统工艺的制造方法、材料使用及象征意义一直为墨西哥当代设计提供无限的灵感源泉。
如今，传统文化遗产融合了新的制造技术、全球趋势以及年轻一代的思想，实现了过去与未来之间的对话。
这个主题展示了设计师是如何接近墨西哥传统手工艺的根源，并用现代设计的眼光来审视这些古老的遗产，或是从中获得启发，或是对其进行更新创造。
关键词: 新工艺，传统，改造，社会责任，
文化多样性
DESIGN BEYOND TRADITION
Mexico has a long tradition of craftsmanship. This diversity of methods, materials, and symbolism has been an unlimited source of inspiration for its contemporary design. Today, the heritage of traditional cultures is fused with new production techniques, with global trends and with the discourses of younger generations to create innovative dialogues between the past and future.
This thematic axis shows the designers who have decided to approach the roots of Mexican craftsmanship, either to be inspired by them or to renew them. It showcases a critical look at our ancestral heritage through contemporary design.
Keywords: Neo-crafts, tradition, renovation,
social responsibility, cultural diversity