When disaster strikes, architects are often met with the challenge of aiding communities left stranded. The requirements are many, with an equally long list of challenges that make the job terribly difficult. Shigeru Ban breaks through the world of disaster relief architecture with cardboard tubes and a dream: to make architecture for the people.
Defining Architecture
The definition of Architecture, by the Cambridge Dictionary, is ‘The art and practice of designing and making buildings’. It could be said that such a definition is quite… sterile and doesn’t really encompass everything that architecture can be. The Architect’s Newspaper provided new definitions through a survey sent to its readers, asking them what they think architecture is. Amongst answers such as ‘Whatever the architect says it is…’ and ‘Really big Legos’ one shone through. Despite many others resounding roughly the same idea, the definition that stood out to me the most defined architecture as:
‘(…) making order and beauty out of chaos, so that we as humans can live comfortably, restfully, and at peace with one another.’
When we think of architecture what usually comes to mind is tall skyscrapers, luxury interiors and flashy landmarks. Something one will not think about is paper. How could paper ever contribute to this poetic fantasy of turning chaos into beauty? The reality is that this resource has proven to be more than adequate for the job.
The Good Architect – Shigeru Ban
Ban’s philosophy was first presented to me with this quote:
I’m quite disappointed about my own profession as an architect because we are mainly working for privileged people who have power and money. (…) I thought we are not working for society, we are mainly working for privileged people.
Shigeru Ban
Shigeru Ban is well-known for having mastered the use of paper for disaster-relief architecture. As suggested by the name, disaster relief architecture can be any temporary or permanent structure that was built with the intention of aiding communities affected by disasters. These can be floods, earthquakes, hurricanes, or even wars. The fundamental characteristic of these structures is that they are meant to offer immediate support for an uncertain period of time, despite scarce resources and unpredictable environments. Ban’s genius came into play with the introduction of paper, more specifically cardboard, as the protagonist for his designs. His cardboard tubes have been an economical and accessible resource that has withstood the test of time. These do not only contribute to the physical safety of individuals, but to their psychological wellbeing as well.
Paper Log Houses, 1995
The first instance of Shigeru Ban’s work being implemented was after a severe earthquake struck Kobe, Japan in 1995. Ban set out to design an ‘(…) inexpensive structure that could be built by anyone, with satisfactory insulation and acceptable appearance, that would be easy to dismantle and recycle afterwards.’ These requirements birthed the Paper Log Houses. A home was to be built out of cardboard tubes, insulated with beer crates filled with sand and a roof of tent membrane. These structures were later built in India for the people that lost their homes due to the Gujarat Earthquake in 2001. A few major tweaks were made to adapt the design to its context. For example, the foundations of the homes were made of traditional mud floors and bamboo was used to create a new, functional design for the roof.
Paper Log Houses, Gujarat, 2001 by Shigeru Ban Architects
Paper Partition System
The Paper Partition System has been used in a number of occasions with the purpose of creating a private space for families living in shelters. Eight cardboard tubes interlock to create a cube-shaped space, curtains or paper sheets are then draped over the tubes as makeshift walls. This transforms the structure into a room that allows for privacy from neighbors. Its most recent implementation has been in aid of Ukrainian refugees in 2022 and for those displaced by the Los Angeles wildfires in 2025.
Cardboard Cathedral, 2013
After a devastating earthquake of magnitude 6.3 struck the city of Christchurch, New Zealand its symbol of community, the St John Baptist Church, was destroyed. The Cardboard Cathedral was built over the foundations of the previous church as a temporary substitution. Over time though, the cathedral quickly gained notoriety and is now a permanent addition to the city’s landmarks. Its most striking feature are its colorful window panes supported by cardboard beams and 20-foot shipping containers, which form to the triangular roof. The beams were constructed at a gradual change in angle to accomodate the original plan of the church before its destruction. The Cardboard Cathedral can house up to 700 people for concerts and events.
The Importance of Aesthetics
Amongst these three examples runs a thin thread tying them together: the importance of aesthetics. It may seem superficial to focus on such a thing in times of emergency. Aesthetics is often overlooked when it comes to quality of life, especially for those living in precarious conditions. The presence of aesthetically pleasing design can foster balance and harmony in communities, as explained by StudioDH Architecture and Design. It can only be deduced that aesthetic in disaster relief architecture is meant to preserve the remaining shreds of the victims’ humanity. Interaction with neighbors, personal dignity and a sense of hope are fostered through these simple paper structures. Ban’s work is a testament to architecture for the people, a fresh facet. His innovative designs led to founding of the NGO Voluntary Architects’ Network (VAN) in 1995, a non-profit organization which continues its activities in disaster relief architecture.
Featured by Brabbu
