(Roughly) Daily

As we rid ourselves of the detritus of the Holiday season, let us pause to consider its signature component: at the turn of the 21st century, corrugated cardboard accounted for just fifteen percent of the United States recycling stream; today, it’s nearly half. Shannon Mattern on the cardboard box…

… As historian Maria Rentetzi writes (“Cardboard Box: The Politics of Materiality,” in Boxes: A Field Guide), “the cardboard box — the waste of our commercial world — is recycled in such a way as to make visible the disorder in our societies, the faults of capitalism.” It is an abject object that touches all parts of the city, from the granite kitchen island to the sewer grate. And for many of us, the cardboard box is our closest touchpoint to globalized trade, structuring our relations with people in distant places. It brings the logistics chain to our doorstep. The magnificently ripped metal freight container may get the Economist cover shot, but the plain brown box delivers messages to our homes. Its very existence in our homes, Marshall McLuhan would say, is the message. In the immortal words of Walter Paepcke, founder of the Container Corporation of America, “packages are not just commodities; they are communications.”

Let’s unpack that, shall we? Boxes are media in multiple senses of the word. They’re lithographed surfaces designed to be read, and they’re dimensional containers that mediate between outside and inside worlds. They’re “media of transport and information, shapers of public opinion and consumer desire, and means of targeting attention.” And they’re “logistical media” that “arrange people and property into time and space,” that “coordinate and control the movement of labor, people, and things situated along and within global supply chains.” The cardboard box is a minimalist form with maximalist ambitions, an arboreal apparatus made from one of the world’s most abundant renewable resources, then filled with plastic and moved around by copious quantities of oil. It doesn’t just coordinate and control landscapes; it transforms them.

Cardboard’s ubiquity rests on simple claims: I can hold that, and I can go there. The Container Corporation of America was founded in 1926, and upon those claims it built an empire with surprising reach. The CCA made collapsible shipping boxes, and it transformed packaging into a science and an art. It advanced market research, shaped mid-century taste, and altered the chromatic universe through color standards. It employed some of the best graphic designers of the period, and as national borders shifted after the Second World War, it commissioned Herbert Bayer, author of the Universal typeface, to revise the World Geo-Graphic Atlas. Even then, the CCA was remaking that new world to meet its logistical needs, rehabbing mining towns and germinating forests, and orchestrating civic discourse about all of this.

How did a packaging company get into the publishing business — into the containment and distribution of information? How were geographic imaginations changed in the process? Soon we’ll dive into the Paepcke archive, to find answers to those questions. But first I want to show you how a cardboard box is made…

In turn, inspiring and horrifying– the social history of the cardboard carton: “World in a Box,” @shannonmattern.bsky.social in @placesjournal.bsky.social.

For an earlier (R)D focused on Mattern’s work: “To clarify, ADD data.”

* Philip K. Dick, The Dark-Haired Girl

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As we tape it tight, we might recall that it was on this date in 1910 that a federal official who might slowed the onset of the cardboard box was fired: Gifford Pinchot, the first chief of the United States Forest Service, was fired by President William Howard Taft. Pinchot had opposed Taft’s newly appointed Secretary of the Interior, Richard Ballinger, who favored commercial exploitation of federal reserve lands.

During President Theodore Roosevelt’s term, Pinchot had help enable policies for the conservation of natural resources. Roosevelt had designated millions of acres to protect as National Forests. That legacy was threatened, so Pinchot pressured Taft to remove Ballinger from office. In November of 1909, Collier’s Magazine had created a scandal when it accused Ballinger of shady dealings in coal lands in Alaska. When Pinchot criticized both Ballinger and Taft, the president reacted by firing him.

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