Building with Paper

Thesis Statement: 

By examining the qualities of paper that allow it to be a potential alternative to traditional building materials along with its connection to the circular economy, my project concludes that increasing our usage of creativity as a tool and strengthening our bond with nature through emotional connections is vital in getting something done in regards to saving our planet from global warming.

Inspiration: Building with Paper, Ulrich Knaack, Rebecca Bach, and Samuel Schabel (Eds.)

My original inspiration for this project came from the book Building with Paper which delves into paper in architecture and how it can be altered to have qualities we don’t commonly associate with paper. This very point was what piqued my interest as it didn’t seem intuitive at all to use paper as a building material upon initial glance; paper comes from trees—something we need to preserve—and it's a fragile material that is susceptible to rain, heat and almost anything else we encounter in nature. However, the more I read the more I was convinced that it not only met the minimum requirements to be a building material, it also makes it far better material than traditional materials like concrete—and this is mostly due to it meeting the requirements for a circular economy. A circular economy is a process where we no longer depend on obtaining raw materials from nature meaning we can allow it to naturally heal over time.

Paper as a Building Material

The qualities that allow paper to become a useful and effective building material boil down to four main points: 1. With a billion tonnes of trees worth of paper being wasted every year, we have a large supply of recyclable paper materials. 2. Paper inherently is a great insulator and has excellent load bearing capacities; we’re just too used to seeing them in weaker forms—which leads to the third point: 3. Paper is surprisingly versatile and can be chemically altered to suit various needs and applications. Through chemical processes that create significantly less pollution than cement production, for example, it can be made transparent, fire and water-proof, just to name a few. And last but not least 4. Paper meets the requirements for a circular economy, meaning we would no longer have to strip mother nature of her raw materials and become sustainable through the use of the waste we have already created. Furthermore, because paper is already a recycled material, once the lifetime of the new material has worn out, it can be re-constructed back into its usable form, meaning we can truly be a part of the circular economy. All four of these points are excellently shown by Honext, a Barcelona-based company that developed “recyclable construction material made of cellulose fibres from waste paper” (Hitti). The material they developed is not only extremely sturdy but also meets the requirements for a circular economy, as once it is worn out it can be re-used as raw materials for a new batch of construction materials.

The concept of the circular economy also fits the ideas brought up in the Age of Resilience by Jeremey Rifkin where he talks about our species’ shift from an ‘age of progress’ to an ‘age of resilience’. He best explains the differences between the two as: “if the Age of Progress marched in lockstep with efficiency, the temporal choreography of the Age of Resilience strides with adaptivity”(Rifkin, 2022, pg.3). Up until very recently, our society (more specifically those of MEDC’s) focused on maximising efficiency in the production of goods and services which led to a lack of caution regarding resilience, as we squeezed out every profitable resource we could get our hands on. This led to incredible growth in our economy and our quality of life but at the cost of a safe environment for our future generations. Rifkin’s ideas of a resilient future is based on a future where we no longer focus on maximising our growth, but rather minimising the cost of nature and living and therefore maximising accessibility and renewability in our society. In his projections for ‘The America Resilient 3.0 Infrastructure Transformation’—a project Rifkin is working on to help achieve this resilient future—he outlines plans to create new jobs, build nationwide EV charging infrastructure, install solar panels, and more. Whilst I can’t speak on the logistics and manageability of these goals, I can say that I agree they are important goals for our immediate future and that integrating new renewable materials such as paper could be another important step we can take to create a more resilient future.

Further examples of this circular architecture can be found in the book Reuse in Construction: A Compendium of Circular Architecture, a book dedicated to the idea of reusing parts and materials in construction. This book begins by redefining the concept of ‘building something new’ which created a new perspective for me on the building process as a whole: We often think of new builds as something that has come together and is a sum of its parts, but it's closer to a cycle of conversion of one material into the next. This means the construction process of any build begins with the formation of the raw material used, but more importantly, doesn’t end when that specific build is complete. Architect Konstanty Gutschow stated that this “[points] to a new circular reading of time, especially when it comes to working with what’s already there—and that includes reusing building components in new structures” (Stricker, 2022, pg.17). The book then goes on to show many examples of old building parts and materials being reused in other projects and I believe this perfectly shows the concept of reusable materials and a circular economy, as we are minimising the amount of materials that we take from nature. Building with Paper takes this one step further by creating the unobtainable pieces from older builds not from raw materials in nature, but from recycled waste that otherwise would have been left to decompose or burn. Implementing this new perspective of conversion instead of construction allowed me to get a deeper understanding of the potential of a circular economy.

(Kayser, Markus, Solar Sinter, 2011, Egypt)                  

(Rudenko, Andrey, 3D Printed Castle, 2023, Shorewood, Minnesota)

The photos above are examples of some of the artworks that similarly convey the ideas and thought processes brought up during the making of this project. The photo on the right is of Solar Sinter, a project by Markus Kayser in which he uses concentrated sunlight to turn sand into glass, and uses this process to create structures like the one above. His goal was to “[trigger] dreams of the full utilisation of the production potential of the world’s most efficient energy resource - the sun” (Solar Sinter). The concept of this project alone embeds the sheer capabilities of a renewable resource to its viewers, effectively conveying the emotion of reliability and even curiosity. In relation to my own project, upon an initial glance at this artwork, one may be curious as to what they are looking at. Further inspection reveals an unorthodox method of creating art, similar to the use of paper materials in architecture. I found great value in this artwork because of this very connection as well as how effectively it can convey that emotion of hope through the idea of endless possibilities in material science and renewable energy. The 3D Printed Castle does a similar job of inducing curiosity as it is another project built in an unorthodox fashion. It also effectively captures the possibilities of new methodology in architecture, especially by creating a sense of surprise and even comedy through the reveal of how it was built.  

Role of Creativity in Building with Paper

Throughout my research in Building with Paper, I couldn’t help but think about just how realistic all this was. This was a common occurrence throughout this course as there was never a shortage of potential solutions or new perspectives that were brought up as a response to global warming. As unique as these ideas are, they all share the same weakness; conceptualisation is infinitely easier to process than it is to apply to the real world. Most solutions are held back by the ongoing march of capitalism and how power and decision making is distributed most heavily to those that make the most profits for their given organisation, whether it be a public company or entire governmental bodies. Despite this, I refused to believe that this work was meaningless because I found a valuable asset throughout this process, an asset that I believe can help fight back against the unfairness within capitalism. This asset is the expression of creativity, and as long as we never stop chasing our curiosities and break free from ideas embedded in us through capitalism and consumerism, we can create solutions in the form of art, science or anything in between or beyond. I had this realisation in a more literal sense recently in my life as I decided to change my major from Finance to Comprehensive physics in my third year here at the UW—a drastic change where there is essentially no similarity between the two majors. For the past three years I was so hell-bent on becoming a part of the system in order to prosper and believed that it was the best thing not just for myself, but the people and the communities that surround me. However, my real interest lay in physics and over the summer, I realised that by pursuing it, I’m not only breaking free from capitalism, but also from a decision that was made not by myself but by the suffocating system that controls our everyday lives.

Building with Paper expresses creativity through the use of an unorthodox material in architecture and shows what's possible when we think beyond what we are already familiar with. Another text that embodied this concept to the fullest and in a much more literal sense is 140 Artist’s Ideas for Planet Earth, edited by Hans Obrist and Kostas Stasinopoulos. This book is a collection of 140 unique ‘ideas’ by artists that “offer alternative, yet connected, visions of our planet, food for thought, seeds to grow, incentives to cook, dream and act, individually and collectively, as we look ahead and imagine together, for the sake of the next 50, 500 or 5000 years”(140 Ideas, 2021, pg.5). Given this introduction it becomes evident why the word ‘ideas’ was used, because there really is no other word that encapsulates the content within. I think this also encapsulates just how many layers of creativity there is to explore and express. When we think of climate change, the size of the matter is daunting to a lot of people which is what makes them give up on tackling it through the use of our creativity and imagination. This book shows us that this fear is irrational and unnecessary by sharing ways to connect with our nature in ways that allow us to get a better understanding of our planet and the issues surrounding it. From baking green vegan donuts to ‘Quantum Futurism’ thought experiments, this book perfectly shows the flexibility, value and power of creativity.

(Dean, Lionel, The Holy Ghost, 2006, Arts Council England)

The Holy Ghost is an artwork that portrays this idea of applied creativity with a heavier emphasis on the application of unique methods in more traditional objects, similar to that of Building with Paper. In this project, Lionel Dean wanted to implement a “living [design] that would evolve and mutate in real-time without repetition” (Future Factories). In this piece Dean achieved the ‘living’ aspect by using a computer program based on random variables in designing the back and arms for the chair. This symbolically represents the chaotic nature of life, which is also portrayed through the beautiful circular patterns that are ever-so-slightly different from each other despite their overall harmony in presentation. This use of an unorthodox method in designing something as ordinary as a chair links back to Building with Paper and how creativity can be a tool in the expression and exploration of ideas, no matter how complicated or simple. A great example of a simpler form of expression is Vincent Dassi’s project on using cardboard to repair everyday objects from chairs and tables to lamps and vacuum cleaners. This project is stated to be “deliberately low tech, as he wanted to create an approach that would be easy for others to replicate” (Frearson).

Creativity is an incredibly useful and versatile tool that we should be using more, not just in our battle against climate change, but also in our day to day lives. The rigid systems that run our society often limits our use of this tool and I believe that it is necessary, now more than ever, to free ourselves from those chains that were forced upon us and use this tool to build towards a more resilient future.

Connection with Nature in Building with Paper

As I have stated multiple times throughout this project, one of the main selling points of paper as a building material is its ability to meet the requirements of a circular economy, allowing for nature to heal itself. It is no surprise that this form of restoration is necessary to fight against climate change but still little is done in the grand scheme of things to allow for nature to regenerate.  There are so many different types of crisis going on on our planet including but not limited to: starvation, child labour, human trafficking, slavery and, of course, global warming. All of us are aware of these issues, but there is a definite lack of action in regards to helping eliminate them, despite knowing the amount of harm they are causing.  I believe this largely has to do with the fact that we are so separated from these issues and because we aren’t experiencing them or seeing them happen. The same goes for global warming and our connection with nature, and just like how we are born to have empathy for others, people argue that the same thing exists for nature in the form of biophilia. One of these people is Rose B. Simpson, an artist that grew up in a household that heavily incorporated the ideas of permaculture. She grew up growing her own vegetables, killing her animal ‘pets’ for food, and was restricted from access to consumerism by making her own shoes from scraps or never having plastic toys to play with. However the thing that stood out the most in her interview with Jessica Horton in The Routledge Companion to Contemporary Art, Visual Culture, and Climate Change, was how immediately she was able to acknowledge the fact that we are destroying our planet every single day as she stepped outside of her permaculture household. From the “blatant waste of food” to the mere sound of “electricity squeaking through the air” (Demos, 2023, pg. 313), growing up surrounded by nature had allowed her to recognise the rampant destruction of our planet in what most of us would call ‘going about our everyday lives’. I believe this isn’t something that is unique to Simpson and we’ve all had similar experiences: once returning from hiking, fishing or simply going on a drive outside of the city, I would feel a sense of emptiness as I’m no longer surrounded by vibrant life and nature but instead, cement buildings and metal cars. The most saddening part about this is that the things that make up the cement buildings and metal cars all used to be a part of nature until we stripped the life out of it for our convenience. I think this is where biophilia starts for someone who grew up ‘normally’ according to capitalism and its rigid structures; it’s not about boycotting consumerism and adapting permaculture into our lives, but establishing an emotional connection nature—learning to miss the thing that we we were never really a part of, not because we didn’t want to, but because we were forced to by our society.

 (Shimabuku, The Snow Monkeys of Texas: Do snow monkeys remember snow mountains?, 2016, Texas)      

(Coates, Marcus, Syrian Elephant, 2018, Workplace Gallery, London)

The Snow Monkeys of Texas is an artwork that I believe conveys the emotion of being homesick very well; home in this case being the nature that we were never able to be a part of. A pile of snow stands in between two snow monkeys in Texas, as they seem to be confused about the very thing they are named after. The way the monkey on the left is sitting beside the snow staring at the camera, and the monkey on the right, sniffing it as if to check if it’s something they could eat: both express a sign of distance and unfamiliarity with what was once their species’ primary habitat. It makes us sympathise with the animals but also invokes sadness for ourselves, as the realisation hits that we’re no different from the monkeys. Marcus Coates' Syrian Elephant shows that we have nobody but ourselves to blame for this separation from nature. This piece is part of a larger set of sculptures that include animals from pigeons to tigers, and when the hand sculptures are shined with a light they create a shadow of their respective animals. This shows a glimpse to what was and what it has been replaced with in the present as the shadows represent the traces of animals that have now been overtaken by humanity and the creations of our own two hands. It is saddening but also creates a sense of responsibility towards those that existed in peace before our destruction began.

This is a topic that is very dear to my heart because the part about physics that I love the most is my belief that it has the strongest connection with nature, even more so than biology. It’s an explanation of what we are made of and how we came to be, and at the root of it all, it tells us that we are fundamentally identical to cats, dogs, trees, flowers, and even rocks. We were all once fundamental particles that formed into molecules through fusion at the hearts of early stars and there is nothing that strikes a stronger emotional connection with nature for me than this fact. Once we recognise that we are all connected at such a deep level, we should feel a sense of responsibility to value everything just as much as we value ourselves.

Conclusion

This project started with simply exploring paper as a potential alternative to building materials, but I believe it ended with something much more meaningful. Through the artistic exploration of paper’s many ideal qualities, it’s ties to creativity and connection with nature through the circular economy, I feel that I understand the issue of climate change on a much deeper level and can confidently conclude that increasing our usage of creativity as a tool and strengthening our bond with nature is vital in saving our planet.

Works Cited

“Art & Design Belgium, Arsenaal, Gentbrugge, October 2023.” FutureFactories, www.futurefactories.com/work-item/section-1-item-9. Accessed 10 Dec. 2023.

Building with Paper. Ulrich Knaack, Rebecca Bach, Samuel Schabel, Birkhäuser, 2023.

Demos, T. J., et al. The Routledge Companion to Contemporary Art, Visual Culture, and Climate Change. Routledge, 2023.

Frearson, Amy. “Vincent Dassi Uses Pulped Cardboard to Make and Repair Everyday Objects.” Dezeen, 3 Feb. 2022, www.dezeen.com/2021/11/21/vincent-dassi-pulp-it-cardboard-pulp-make-repair/.

Hitti, Natashah. “Honext Develops Recyclable Construction Material Made of Cellulose Fibres from Waste Paper.” Dezeen, 6 May 2022, www.dezeen.com/2020/11/26/honext-recyclable-construction-material-cellulose-paper/

Rifkin, Jeremy. The Age of Resilience: Reimagining Existence on a Rewilding Earth. St. Martin’s Press, an Imprint of St. Martin’s Publishing Group, 2022.

“Solar Sinter.” Kayser Works, kayserworks.com/798817030644. Accessed 10 Dec. 2023.

Stricker, Eva, et al. Reuse in Construction: A Compendium of Circular Architecture. Park Books, 2022.