This workshop explores the trinomial process of sand tamping, evaporable models, and aluminum casting, allowing artists to work autonomously within their studios. The methodology integrates artistic freedom with practical foundry knowledge, enabling the creation of unique sculptural works. Through experimentation with small-scale casting, participants engage in a learning-by-doing approach, encouraging innovation and critical reflection on the sculptural process. The workshop aligns with broader educational programs, aiming to establish a deeper understanding of traditional and contemporary casting methods.

Context and program

Materials and methodologies

Participants utilized recycled extruded polystyrene boards with the maximum working dimensions of the boxes available,shaping models with various techniques, including cutting, gluing, engraving, and texturing. The sand tamping process prioritized effective model placement, optimizing the direct pouring method. The aluminum used was sourced from recycled materials, promoting sustainable casting practices. Throughout the workshop, all participants engaged in each step of the process, from melting and pouring to finishing and assembling the castings. Sand was cleaned and reused, reinforcing responsible material management. The final stage involved evaluating the relationships between forms, exploring visual and conceptual connections.

The workshop emphasized a pragmatic approach to metal casting, fostering a clear understanding of material behavior. At FBAUP, oil-bonded foundry sand is used for model tamping, simplifying material handling while ensuring high-quality casting results. Aluminum was selected due to its low melting temperature (660ºC) and recyclability, reinforcing sustainable practices. The properties of extruded polystyrene allowed for intricate detailing, enriching the expressive capabilities of the casting process. Discussions included the role of molding and foundry techniques in contemporary art education, advocating for interdisciplinary collaboration among sculptors, designers, and engineers.

Key issues

Results and observations

The workshop successfully met the objectives outlined in the YES Masterclass #2: 1. Enhancing the role of recycled materials in artistic education; 2. Encouraging material reuse and life cycle awareness; 3. Integrating artistic practices with the UN Sustainable Development Agenda 2030.
Aluminum’s history, from its discovery in 1827 to its industrialization in 1886 via the Hall-Héroult process, illustrates its transition from a rare metal to an essential material in modern applications. Participants engaged in discussions on the sustainability of foundry practices, acknowledging the necessity of reducing environmental impact while optimizing resources. The workshop explored innovations such as oil-bonded sand reconditioning, repurposing extruded polystyrene, and minimizing energy consumption. Through hands-on experience, participants reflected on the balance between traditional craftsmanship and contemporary sustainability concerns, reinforcing the importance of conscious artistic production.
The broader implications of this methodology extend beyond individual practice, contributing to research in casting and molding techniques. By encouraging experimental approaches, the workshop fosters interdisciplinary dialogue, bridging the gap between artistic vision and technical execution. The insights gained support ongoing developments in sustainable foundry practices, ensuring a lasting impact on both artistic and industrial contexts.