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Paper is not a material usually associated with permanence. Light, foldable and fragile, it is designed for circulation and disposal rather than endurance. Yet when used as a mould in casting, whether with concrete, plaster or ceramic slip, it becomes a temporary skin shaping durable form. Creases, folds and textures press into hardened surfaces, and with each reuse the paper softens, tears and evolves. Crisp packaging geometry may blur after several pours, recording both its intended shape and the mould’s exhaustion. In plaster or slip casting, detail is preserved: logos, tape marks and wrinkles endure, while paper’s absorptive quality alters drying, producing cracks, warps and irregularities.
This project investigates how such processes turn deterioration into a productive force, introducing individuality into methods that might otherwise appear mechanical. Reusing cardboard redirects material from waste to architecture, embedding traces of consumer culture. Each cycle layers imperfections until the mould collapses, producing singular forms shaped by erosion, memory and time. Paper is not disposable scaffolding but a collaborator, its breakdown shaping the identity of the work.
A study on the lifespan of packaged boxes through multiple casts.
For this research, we are exclusively utilising recycled Amazon packaging due to its widespread availability and its common use in everyday life.
This study explored the use of cardboard as formwork, with plaster cast into folded and ripped forms secured by paper clips. The experiment tested how simple, lightweight moulds could structure and support the material while enabling precise casting.
The prototypes produced a library of forms, archived for further design iterations. Each cast preserved the geometry of the cardboard moulds, serving as a reference for scaling, modular systems, and future explorations of architectural assembly.
Following plaster, we experimented with ceramic slip, capturing every crease and fibre of the paper. Paper absorption accelerated drying, producing thickness variations, cracks, and warps, making deterioration a driver of chance and individuality.
The first prototype used a box form for the stool, with legs built from 3×3 cm ripped cardboard modules. Positioned upside down, concrete was poured from four openings, exploring how smooth and raw surfaces interact and complement each other.
Plaster trials tested formwork and cardboard moulds, with flexible curved arches retaining material. Rotational casting reduced weight and created organic voids, producing a lightweight stool where material behaviour shaped form and structural logic.
The second prototype used concrete with an upside-down casting method. An external wooden structure supported the backrest, while gravity, pressure, and spillage shaped organic forms, blending smooth and raw surfaces throughout the chair.
Ripped and folded cardboard moulds contained the concrete, guiding flow and providing strength. Accidental crevices and gaps emerged naturally, enriching the design and producing a “perfectly imperfect” form shaped by material behaviour and chance.
The architectural system developed through component aggregation and stacking. Prefabricated units defined spatial boundaries, forming mezzanines and terraces, with the first four components forming the base and establishing the building’s logic.
Additional components (A–H) formed the second and third floors, creating slabs and walls with double-height spaces. Aggregation blurred inside and outside boundaries, extending the stacking system and modular logic throughout the building.
The architectural proposal translates cardboard casting into inhabitable space. Modular paper-based moulds define walls, slabs, and partitions, preserving folds, creases, and wear as traces of material memory and process.
Folds, creases, and softened edges of the cardboard mould shape interiors, partitions, and volumes. The traces of repeated use embed memory, time, and material behaviour, creating a spatial logic where process and architecture are inseparable.