Fab Bozzolo-Fabia
Richard Runfola
Jarrett Trudeau
Ryan Vigiolto
Nicholas Wheeler (Krafting)
Craig Brozowski
Michael Hoover
Morgan Mansfield
Abigail Peters (Structural Paper Shells)

Georg Rafailidis

ARC 605
Fall 2019

MArch

The Material Culture Graduate Research studio began by researching typologies of decay and monocoque structures, or structural skins. Driven by a desire for temporal conditions, the studio explored materials with degrative qualities, such as paper. They also looked into the effect that form and material has on structural capacity.

The Krafting team, inspired by Frei Otto’s method of study and model making, studied tensile properties and forms through stretched fabric and nylon string. Through a series of explorations, they were able to test and catalogue different curvatures and construction techniques, such as creating forms through tensioned fabric and then spraying the paper pulp across the surface.

The intention was to remove the fabric formwork once the pulp had hardened and dried. However, as a part of the making process, failure revealed issues of materiality and formwork. The paper pulp wasn’t adhering to the polyester fabric used as the formwork, which was flexing and changing shape under the weight of the wet pulp.

In response, the formwork design was modified to use panelized, organic fabric, burlap, that was sewn together and put in tension through chords tightened against the studio’s interior surfaces. The fabric surface consisted of 100 burlap panels. The pulp mixture was applied to both sides of the burlap, embedding the formwork and making it part of the system as structural reinforcement. 

The team used shredded Kraft paper and printer paper as the main ingredient to their pulp mixture.

This design focused mainly on structural exploration with the intention to maximize the size to the extents achievable within the Parker Hall studio. The design of the space responded to the existing conditions of light and movement within the studio. The openings aligned with the studio’s entrance and window, allowing for a flow of people and light through the structure. One of the opening framed the pin-up space so that their final review could take place from within and around the structure without impeding on the presentation.

After being removed from Parker Hall, Krafting is looking for a new home outside. While a specific place hasn’t been determined yet, the team would like to place the structure in a park or forest to put the notions of decay and temporality into action.

The Structural Paper Shells team was inspired by the modeling techniques of Antoni Gaudi, Heinz Isler, and Frei Otto, generally involving inverted forms created through hanging chains or fabric. These forms, developed through self-weighted tension, are flipped 180° and then work in pure compression.

The team began their exploration by testing different additives in their pulp mixture, which used cellulose insulation as its main component. After experimenting with multiple additives, they found that flour considerably increased the strength of the insulation mixture. They continually improved their production techniques as well, advancing from easily broken blenders to a power drill mixer. 

Cotton muslin fabric was hung from curved, wooden frame pieces that were attached to the ceiling. This would act as the formwork for the different shells that were created. Each of the eight shells required its own unique formwork.

Similarly to the Krafting team, the Structural Paper Shells team used a power sprayer to coat the fabric form with their pulp mixture. It generally took 11 to 15 passes to achieve the desired thickness across the shell. Two to three layers of hand-applied pulp were added along the ridges to increase their strength. The room had to be conditioned to be between 60% and 80% humidity while spraying. The team documented using 150 pounds of cellulose insulation, 124 pounds of flour, and 660 gallons of water to produce eight catenary paper shells.

Once dry, the shells were taken down from the ceiling and the fabric was carefully peeled away. The shells, selfsupported through compression, were set up next to each other to create a linear, vaulted space. After their review in the fall, the team moved the shells to Artpark in Lewiston, NY