The Grammar of Corrugated Cardboard

Following the suggestion of what I call the Grammar of Matter, we should try to observe things as if we were seeing them for the first time; with respect and curiosity, without already having a goal or a precise outcome in mind.

What about the language of corrugated cardboard? What are its transformative potentials? Or in other words, what transformations do its characteristics suggest to us? Let’s start with a small scrap piece, derived from a box of cookies.

I pick it up: the strips in relief are immediately an irresistible invitation to cut, while the two folding lines show where to stop cutting.

Now it can move in many ways, it seems to come alive, it becomes a tunnel, a millipede, a carnivorous plant…

Another action, generally associated with corrugated cardboard, is “rolling up”. If we combine it with cutting (or we put it in relation to other objects), various shapes can be created, in turn composable and combinable with each other.

On the left: picture by RobertapucciLab – On the right: picture from the book Créations en papier, mgf atelier

There are different kind of corrugated cardboard: as we have seens, it is used for small food packagings, while other colored ones are available in art supply shops, or you even can buy large rolls, generally used as industrial packaging.

What happens if we try to remake the same shape in a much larger size? A detail, a small decoration becomes a high impact presence.

Setting and workshop by RobertapucciLab for the public library “Il Castello dei Ragazzi” (Carpi, Italy)

The rolled strip that looked like a small sprout, can become a tree if using the maximum size of the roll. And then, more trees can generate a forest within a room… The setting of these images was designed as part of a creative workshop for a public library (in Carpi, Italy). Some tables were set with some materials and tools, ready to welcome adults and children to create colorful flowers for the trees.

“The grammar of matter” invites us to put the qualities and properties of a material in relation with the context around. Here is an example of how this can happen. One morning, the Swedish educator and atelierista Maria Kozlowska saw a large roll of cardboard standing in the storeroom and had the idea of making a corrugated cardboard labytinth for 2/3-years-olds children.

Pictures by Maria Kozlowska

It is a single length of corrugated cardboard that the children shape and reshape, explains Maria. The children form new “rooms” by pinching the paper together and closing into these spaces, alone or together. They open and close the rooms and the walls are changed by their actions, while organically shaped passages are formed.

By very actively investigating the material, children become aware of how their actions create new patterns and formations in the space. They also move their fingers on the corrugated cardboard wall and create sounds. In fact, noise is a characteristic aspect of corrugated cardboard.

“They are creaking footsteps” says Denise, the four-year-old author of this work entitled “The creaking house”, clearly inspired by the sound of material. The image is taken from the beautiful book “Mosaic of marks, words, material” published by Reggio Children, which clearly illustrates how children are able to be listening and in relation to the nature of the material they are using.

Pictures from the book Mosaic of marks, words, material, Reggio Children

The corrugated cardboard can fold and has got stripes: so the rainbow was a spontaneous association for Lorena, a three-year-old child struggling with a strip of cardboard and indelible markers. In most of their explorations, children spontaneously adopt an empathetic approach of curious researchers that we, as adults, can rediscover only with a certain, initial effort of awareness and intentionality.

Folon, Voyage brun, 2000

By what magical alchemy does the French artist Folon manage to transform an anonymous piece of corrugated cardboard into such an evocative and poetic seascape? I believe that for any professional, a respectful and curious dialogue with the material is an indispensable element to reach a good level both from an aesthetic and functional point of view, as demonstrated by many examples in the field of art and design.
The great Italian designer Bruno Munari reminds us that the observation of natural shapes is very useful to the designer, who gets used to choosing materials for their nature, for their technical characteristics, and not to use iron where it would be better using wood (or glass where plastic would work better, and so on).

There is a limit we cannot go beyond, in the sense of constructive simplicity.

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Architecture scale model in a design exposition, MAXXI Museum, Rome

A special thanks to Maria Kozlowska for her precious contribution and beautiful pictures, including the cover one.


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