Meghan
This work explores the architectural potentials of salt and origami within the built environment. This document is the summation of the research and experimentation explorations of these building materials and techniques.
The health and wellness benefits of salt have proven to warrant the exploration of this mineral as a building material. Through inhalation, salt assists the healing properties of the respiratory system; through topical absorption, the mineral acts as an anti-fungal, antibacterial agent for the skin; through the environment, salt reduces mental health properties, while increasing energy and sleep quality. Interior design elements and the reclamation of salt mines and caves comprise the majority of contemporary salt-based structures.
The world of salt is currently being traversed at a small scale. Faulders Studio is growing salt on a 3-D printed substrate while also exploring 3-D printed salt-based substrate. Emerging Objects is also exploring a salt-based 3-D printed material. Eric Goebers and the Salt Lab are trying to combat desertification through a unique closedloop ecosystem that results in a vaulted salt architecture. Kemal Celik and AMBER are working towards a cement mixture that sources magnesium oxide from salt, in order to create a carbon negative concrete structure. These explorations serve as case studies for the following research.
While the origins of origami are unknown, the potentials of this process have been known for centuries. The Waldorf School and Bauhaus both sought the valuable lessons origami teaches within their curriculum, thus this ancient paper-folding craft has been implemented in both prestigious design schools.
Origami has informed architecture throughout the world and is evident in both the ratios and grids created by fold and fold like structures. The structural potentials of morphing origami are currently being investigated by Glacio Paulino through combining fold patterns.
The practical and theoretical applications of both salt and origami were utilized in the final design of nine artist studios at Storm King Arts Center in New York State.
Salt exists in numerous varieties: from being used to season food or to help melt snow and ice, the mineral serves many purposes and applications. So, why not build with salt?
Like any other mineral, salt needs to be mined in order for it to be utilized. Solution mining uses a well over salt beds in order to produce a brine solution from which the salt is sourced, like table salt. Deep shaft mining uses a room and pillar system to source minerals, and this is commonly used for rock salt. Solar evaporation is the most pure way of mining salt (Fig. 4). This type of mining uses wind and sun to evaporate water from a brine solution, leaving behind salt and can only occur once a year.
Old salt mines and caves throughout eastern European countries are being reclaimed and repurposed for religious establishments and other purposes (Fig. 1 & 3). The Wieliczka salt mine in Poland and its miners attracted the attention of a few doctors throughout its history who studied the health effects of salt on the human body. This established the beginnings of salt therapy in the forms of speleotherapy, subterraneotherapy and halo-therapy (Fig. 2).
Chronic respiratory problems can be relieved through the inhalation of salt. A reduction in mucus, inflammation and other smoking related symptoms have been observed as results of inhaling salt particles (Fig. 5).
Salt also acts as an antibacterial and antifungal agent when topically absorbed through the skin. The mineral is proven to alleviate symptoms of acne, eczema and psoriasis when applied directly to the skin.
Mental health has also proven to benefit from the presence of salt within the environment. Because salt gives off negative ions, it helps clean the air of contaminants. In turn, symptoms of anxiety, depression and stress are reduced (Fig. 6). The presence of salt also helps to increase energy levels and improve sleep quality. Many of these health benefits can be achieved through the environmental presence of salt. Interior design features of solid salt bricks, columns and tiles are utilized in buildings throughout the world (Fig. 6 & 7).
Unfortunately, since salt can be eroded by various weather conditions, these are purely interior applications.
While salt is not a traditional building material, its construction applications are currently being explored in a few different methods.
Emerging Objects is currently exploring 3-D printed salt polymer, with salt sourced from the San Francisco Bay. The salt is sourced from a series of evaporation pools, through solar evaporation. The 3-D Printed House design utilizes salt polymer for skylights in conjunction with a traditional 3-D printed polymer facade (Fig. 1).
The Saltygloo installation also utilizes the same salt polymer (Fig. 2). The igloo like structure is composed of 336 unique 3-D printed panels.
Tokujin Yoshioka is a Japanese artist who’s work utilizes the natural growth of mineral crystals from submersion in a solution to create two installation pieces. The Venus Natural Crystal Chair (Fig. 3), which uses a polyester elastomer base, serves as the predecessor to the Spider’s Thread (Fig. 4), which consists of seven strands of filament.
Eric Goebers and the Salt Lab are working on The Salt Project in an effort to combat desertification. Sea water is pumped to arid regions and is distilled by the sun’s energy. The salt is then used for vaulted architecture and the fresh water is used for agriculture. Part of the agriculture of the community includes starch, which is mixed in with the salt to create the vaulted structures (Fig. 6). In essence, this creates a closed-loop, fully sustainable ecosystem (Fig. 5).
Faulders Studio is also exploring 3-D printed salty structures, similar to Emerging Objects. They have experimented with both salt crystallization growth on 3-D printed substrate and 3-D printed salt substrate (Fig. 7). Both methods of utilizing salt are being applied to their GEOtube Tower project.
Kemal Celik and AMBER Laboratory have found a way to source magnesium oxide from salt, taken from desalination plants in Abu Dhabi. The magnesium oxide cement mixture absorbs carbon dioxide while hardening, essentially making the salty concrete carbon negative (Fig 8).
There are no records on origami prior to the 15th century, however, origami is credited to the Japanese about 1,000 years ago. Origami was founded prior to papermaking, so it is believed other materials were folded before paper. The Waldorf School and Bauhaus found much value in the ancient paperfolding technique, so origami was incorporated into their curricula.
Glacio Paulino is researching and experimenting with the structural aspects of origami. Morphing origami has played a key role in this research. By combining the egg box and miura-ori folds, the resulting fold locks in tension (Fig. 1-4). This type of fold has the ability to morph its mountains to valleys and vice versa. The “zippered tube” is both flexible and stiff, while it resists bending (Fig. 5). This fold can be performed in a range of angles, adding versatility.
Researchers at Aeromorph are currently exploring inflatable origami. The company developed a software tool which uses different seam patterns, that are engraved with a special head on a CNC machine, to create a variety of inflatable shapes through a precise control of folding (Fig. 7). The inflatable seams can be engraved onto most flat materials like plastic, fabric and paper. The company sees potentials for this creation in packaging, interior design (Fig. 6) and installations.
Origami has inspired architecture throughout the world. Studio Morison designed a pineapple shape pavilion for the Georgian Gardens that draws heavily on origami concepts (Fig. 8). The building is to appear as though it could actually be folded out of paper, so coated fiberglass fabric was chosen for emphasis on the folds. The origami appearance lends itself to a natural structural stability.
The experimentation phase of research explored five different methods of salt crystallization. These methods were investigated at different chapters of development as progressions were made and lessons were learned.
Sprayed: The sprayed experiments were among the first to be tested. These experiments revolutionized a few times, producing several viable materials for the practical and theoretical built environment, while also providing lessons learned.
Submerged: The submerged experiments were also among the first to be tested, while providing more lessons learned. These experiments proved versatile for producing materials to be applied in the built environment.
Molded: While these experiments had not revolutionized as much as some of the others, they produced viable options for building material.
3-D Printed: In researching salt building materials, it was discovered that 3-D printed salt polymers are an existing material which have viable practical applications.
Electrified: Although these experimentations begun significantly later than the previous experiments, there are archaic roots to accretion of salt in this fashion.
Paper
Solution:
water
Salt Method:
once / day
flat in a dry place
until saturated
Unsuccessful:
not grow in the vertical direction.
Stage
once / day
flat in a dry
until
in
ounces water
Salt
Spray once / day Lay flat in a dry place
until saturated
Unsuccessful:
folded arch was not strong enough to stay folded after saturation.
Stage 6: Arch + Textile
Tested:
Nylon Netting
Tulle
Burlap Solution: 12
water
Salt
Spray once / day Lay flat in a dry place
until saturated
Unsuccessful: The folded arch was not strong enough to stay folded after saturation.
to Right)
Nylon
Felt
Lace
Ribbed Ribbon
Foam Burlap
Acrylic Yarn
Salt
in
in a cool,
Stage 1: Salty Glue Materials Tested: Elmer’s Glue
Method: Squirt Elmer’s Glue onto surface Cover with Salt Blend until smooth Results: Malleable Hardens after a few hours
Best
1
1
Method:
Blend salt
Stir until
Pour into mold Allow to
Most
Mixture Ratio:
4
1
1
sake
Method: Measure all ingredients by weight
Blend salt and starch
Add sake
Stir until smooth Pour into syringe “3-D Print” onto surface
Allow to dry until solid
Most Successful: Sea Salt
Mixture Ratio:
parts salt
part starch
1 part sake Method: Measure all ingredients by weight
Blend salt and starch Add sake
Stir until smooth Pour into syringe “3-D Print” onto surface Allow to dry until solid
Most Successful: Sea Salt
Solution:
4 Cups water
8 Tablespoons Salt
4 Tablespoons Epsom Salt
Method:
Strip wires
Affix positive and negative ends of wire to metal material
Submerge metal in either end of nonconductive container
Plug wiring into portable charger
Allow to run until charger dies
air dry
Most Successful:
Himalayan Pink Salt
The research and experimentation within this document serve as the basis for the design of nine artist studios located at Storm King Art Center in New Windsor, New York. In order to understand the design, the term artist studio needs to be defined. These artist studios serve as an escape from daily life. They are intended to be a retreat for the artist who needs creative rejuvenation. A day spent immersed within salt is sure to jump start the creative process.
This series of nine buildings can be regarded as follies. Guests are intended to travel through the snake of pavilions on a path of discovery similar to that of the experimentation process of this work. This journey is accompanied by areas of respit, so guests can be fully immersed in the work.
Because there are several different practical and theoretical applications for salt and origami as a building material, each individual folly consists of a unique element, directly inspired by the experimentations. However, there are only four different building shapes across the nine buildings.
Each pavilion consists of a concrete basin-like floor, sloped towards the central drain. The “outer shell” of each folly provides protection from the elements and is composed of steel framing supporting a sloped, sheet metal roof for drainage. The “inner shell” of each pavilion is constructed out of salt and salt combined with origami. On the one end of the individual pavilion there is a concrete table and bench; on the other end there is a bench across the way from a pin-up wall. The center of the pavilions are left relatively open, so that artists in any medium have room to work and a choice of where to do their work. The Curved and Boxed buildings have central walls, varying the levels of privacy. On either end of the pavilions, coiled wire fabric curtains are provided, so artists can claim a space as their own for the day, especially if there are a lot of visitors at the art center.
The temporary nature of salt plays a pivotal role in this design. These follies are designed to protect the experiments contained within for as long as possible. Each spring the pavilions are constructed; over the summer the buildings begin to show age; by fall, the follies are deteriorating and the cisterns are filling. In the winter months, the follies consist of only the outer shell.
The central drain siphons the runoff salt and stores it in a cistern below ground. The salt collected in the cistern can then be used to re-construct the pavilions for the following year. As new progress and discoveries are made in the applications of these materials and methods, the buildings can take on new form while maintain function.
The worlds of salt and origami are currently being traversed at a small scale. The pavilions in the proposed design reflect these small-scale explorations.
The contradiction of applying a saltwater solution to folded paper reflects the contradiction of the strict scientific process and the free-flowing creative process. However, the discoveries made could not have materialized without one or the other.
This work demonstrates the initial potentials of salt and origami within the architectural realm. Though these methods and processes may contradict themselves, arguments can be made that they strengthen each other.
This work testifies to the fact that there are potentials for both of these materials and methods in practical and theoretical utilization.
Only through more research and experimentation will we be able to understand the full implications and applications for salt and origami in the built environment.
Meghan Davis / Fall 2020 ARCH 431 / Materials Process Exploration Marcus Shaffer / Instructor
The Pennsylvania State University Stuckeman School / Department of Architecture