Re: [Origami] Is scoring paper cheating

[Matthew Gardiner]

 The origami folk in Melbourne had paper scored to make a record number of
paper tsuru for a beautiful display in central Melbourne a few years ago

True, we did score 8000 sheets, and it meant that Gen Hagiwara could fold
two cranes at once (top photo on this page
http://www.papercrane.org/index/Projects/95). So to be honest I think
scoring gives the folder an unfair advantage, and who wouldn't want that. I
mean let's be serious about this and imagine if origami were an Olympic
sport (e.g. TV Origami Champion). Who would have the advantage, the
pre-scored or the plain paper? It's clear that scoring would be the doping
of origami! The trick would be to have a scored sheet be undetectable.
Scans of the paper to show internal structure would be standard testing.

But I digress... I love scoring, I love using a laser or other tool to
score complex patterns and having perfectly reproducible results. Though
there is a downside, in laser scoring the paper is damaged slightly, and in
fabric pleating patterns the lifespan of the pattern is reduced. My
soon-to-be-published book 'Designer Origami' discusses 'Techno Origami' in
the opening chapter, fabric pattern making, as well as other aspects of
purism.

- Matthew Gardiner


On Tue, Jan 22, 2013 at 4:22 AM, Clare Chamberlain 
cchamberl...@rspcawa.asn.au wrote:

 Subject: Re: [Origami] Is scoring paper cheating?

 The origami folk in Melbourne had paper scored to make a record number of
 paper tsuru for a beautiful display in central Melbourne a few years ago -
 I remember Perth Origami Group folding several dozen scored, fairly stiff
 sheets as our contribution.

 Clare, Perth, Western Australia




-- 
Kind regards,
- - - - -
Matthew Gardiner
+43 699 17781310
http://www.matthewgardiner.net
- - - - -
Senior Research Lead
Research  Innovation Group
Ars Electronica Futurelab
http://www.aec.at

Re: [Origami] Origami Heart

[Matthew Gardiner]

 I also found this diagram, which is the same as the one you mentioned.
 Balanced Heart (M Gardiner):
 http://www.papercrane.org/articles/abcTV/heart.gif


Well just to clarify from my point of view, thanks Sy Chen for mentioning
it.

I would claim independent invention (be it reinventing the origami wheel)
and publication (online and broadcast) of the design under discussion. My
diagram sequence is slightly different to
http://www.origami-fun.com/origami-heart.html but the model is the same.

Certainly Young's action model preceded mine (published in 1996) though I
was unable to be aware of it as Francis Ow's heart origami book was out of
print at the time. I wrote to him to ask about using a different model of
his in the Australian TV series I was shooting, but unfortunately he didn't
respond, I did try.

So I sat down and tried to find the simplest way to fold a heart that was
two sided, and the result was the balanced heart, and I attributed my
original inspiration to back to Ow.

The heart on this site http://www.origami-fun.com/origami-heart.html is not
attributed to anyone. The site is registered to a woman in Adelaide
Australia, her site was registered in 2007, and I published a year earlier
in 2006 http://www.abc.net.au/tv/sundayarts/txt/Sunday4June2006.htm

Matthew Gardiner

Re: [Origami] Copyright Infringement?

[Matthew Gardiner]

 Just did some surfing on the, Ships To German Etsy Site and came across these 
 two origami book that can be down loaded in PDF format for a small fee.  Is 
 this legal?
 
 The origami books on his site are here:
 
 --- 
 http://de.etsy.com/listing/126869727/origami-magazine-pdf-ebook?ref=shop_home_active

I've forwarded this to origami house in Japan. It does not appear to be legal.

Best, Matthew 

Re: [Origami] Folding Architecture: Top 10 Origami-Inspired Buildings - Architizer

[Matthew Gardiner]

On 02/11/2013, at 10:34 AM, Israeli Origami Center orig...@netvision.net.il 
wrote:

 The list makes interesting viewing, but in my opinion many of the selected
 buildings are more faceted than folded.  Origami implies a form whose
 origins as a sheet are evident.  A faceted form implies a form that was
 carved from a solid block or assembled from many irregular polygons, which
 to me is how many of the buildings appear.  This confusion among designers
 between 'folded' and 'faceted' is common. 

Thanks for kicking off the conversation Patsy.

I think this is an interesting point Paul. I'm currently investigating the 
language of folding as a PhD thesis topic, and one of the areas that comes up 
quite obviously is architectural scale works. 

You make two very interesting points:

1. That origami implies the existence, or evidence, of a sheet.
2. The differentiation between a faceted form and a folded form. 

Whilst I can agree with you on assessment of a some of the buildings, that they 
are more facetted than folded, I can imagine that they would all be foldable, 
either as single sheets or from units, and so in a way I find the term origami 
inspired apt, as opposed to say, origami building.

A collaboration between Tomohiro Tachi and Eric Demaine, a piece of software 
called Origamizer http://www.tsg.ne.jp/TT/software/ that can fold up any 
polygonal form. Which means that any faceted surface could be folded. So the 
reality is that as soon as a building is made from polygons (or facets) then it 
could be folded. 

I think the definition of origami, or the aesthetic of folding, differs between 
practitioners of the art, and designers. An origami artist often deals with a 
sense of purism related to the uncut sheet, or sheet principle in general, 
which you have articulated above.

I do appreciate your examples (thank you for them), they clearly show how the 
sheet is evident in those other buildings.

It is useful to note that the architects are looking at origami, and do cite 
their inspiration as origami 
http://architizer.com/projects/karuizawa-museum-complex/ (an elegant structure 
in my opinion). As is the building in Rye, Australia. If I had money I'd like 
to build something similar. 

I'm interested in the notions of origami that are developed by designers and 
architects because they are also notions that often transferred to the general 
public who consume the products and visit the buildings.

best, Matthew 

[Origami] Light is time folds are space.

[Matthew Gardiner]

Dear origami friends,

I've just finished the documentation for an artwork exhibited at the Alhondiga 
in Bilbao in July 2013. 

The work is called Light is Time, Folds are Space and it's a meditation on 
the visual effect of light and folds. 

http://vimeo.com/m/82716881

It's different to my earlier oribotic works as instead of animating the folded 
form I am animating light. It's 6m wide and fills up your visual field when 
standing in front of it. The components are made from laser cut and scored 
polypropylene and the folding patterns were made from a simple software 
algorithm in Rhino to change the value of one angle in the crease pattern for 
each vertical row. The pattern has higher peaks at one end of the wall and 
lower peaks at the other, so as to create an incremental sculptural form.

It's hard to really capture the experience of seeing the work in person, but 
the video does how how much visual variance one simple pattern and light can 
make. 

Best, Matthew. 
- - -
http://matthewgardiner.net

[Origami] Origami sighting - Smart Materials and Structures

[Matthew Gardiner]

In case this hasnt been discussed yet: I just discovered a swag of papers (some 
funded by the NSF):
http://iopscience.iop.org/0964-1726/23/9
Some great stuff, though you will need a university login of sorts to access 
the papers, so for those of you in study of origami for the purposes of 
engineering, or like me for art, very good reading.

cheers, Matthew

[Origami] ORI* exhibition in Kyoto

[Matthew Gardiner]

For those of you in or close or coming to Kyoto in the next week, my recent 
work connected to my science/art research project called ORI* (meaning fold 
anything) in collaboration with Kyoto Design Lab.

This page is in Japanese, but google translate does a reasonable job.
http://www.cis.kit.ac.jp/~ikegawa/ori/index.html

We held a few events: public lectures, workshops, an exhibition (open till 28th 
March 2016), with some thought provoking works by the local students, plus 
original artefacts that feature folding as a key design strategy, such as 
sensu, an origami design book from 1904, plus my oribotic works and related 
research prototypes. I highly recommend a visit. 

We screened the recent French/German documentary (in English) “The Origami 
Code”. A very inspirational film, for those who haven’t heard about it yet: it 
is available here in German: http://www.3sat.de/mediathek/?mode=play=54054 
and here is the trailer: https://vimeo.com/151504441

Info sheet on the ORI* workshop.
http://bit.ly/1LyvyYT

For those interested in some of the research background, though we have yet to 
publish any of our results, our basic intentions are visible.
http://matthewgardiner.net/ori/abstract

Basically, we are are employing an artistic line of inquiry into the 
contemporary meaning of folding and its applications, and we are seeking new 
ways to apply folding in artistic and technological ways. My paper in Origami6 
sheds some light on the ideas we are developing in ORI*.
 
Happy to answer any questions anyone may have.

happy folding, Matthew Gardiner

Re: [Origami] Article about Polly Verity's work at wired.com

[Matthew Gardiner]

> http://www.wired.com/2016/07/gorgeous-tessellating-papercraft-inspired-bauhaus/
> 
> I would be interested in hearing about more references to the Bauhaus and 
> origami. Anyone else out there know of the connections?

It was a material focus, paper led the way, a very simple but powerful approach 
to teaching design practice. 

The books from which the photos on Erik's curved folding page 
(http://erikdemaine.org/curved/history/ check his references) which you should 
be able to find in your local university library, give an overview about the 
courses taught by Albers at the Bauhaus, and paper, and therefore folding, was 
one part of the Bauhaus design course. It's still popular to teach folding in 
preliminary courses within design schools. The MIT Press book is one of the 
best references I've seen, as folding is placed within the continuity of the 
curriculum. As a folder it's possible to understand the role of playfulness, 
exploration and creativity that must have ensued in those classes. 

It's worth the trip to a library, the Bauhaus approach is inspiring, and that 
trip could yield more references.  

Best, Matthew 

Re: [Origami] recent surveys of origami artworks

[Matthew Gardiner]

>>> Does anyone know of any other major exhibitions out there?

Robert, Laura, and anyone else out there who still may want to chime in here.

@Robert, wow that is really an impressive list covering almost two decades!

Thank you so much for preparing such an extensive list. I’m interested to know 
what would your top selection would be, and why, from an artistic point of view?

And have to say, I’m really curious about the 1998 Xerox PARC exhibit. It seems 
an unusual location, albeit apt now that we look at how Origami has now well 
and truly become enveloped with technology. Do you have any catalogues or 
relics from the 

best, Matthew

[Origami] Ron Resch 1970 IASS paper

[Matthew Gardiner]

Dear O-listers,

Can anyone help me find a copy of this paper?

Resch, Ronald D., and Hans Christiansen. "The design and analysis of kinematic 
folded plate systems." Proceedings of IASS Symposium on Folded Plates and 
Prismatic Structures. 1970.

I’m interested in what Resch has to say about his generative geometry systems 
and apparently there’s some detail about a computer program writen by 
Christiansen, an early computational ‘origami’ design example.

Alas my university doesn’t have a copy, and the IASS don’t seem to have a full 
archive available online.

Thanks, Matthew 

Re: [Origami] Froebel - Seventh Gift - origami and ratios

[Matthew Gardiner]

On 4 Mar. 2017, at 1:11 am, Laura R <lauraroz...@gmail.com> wrote:
> 
>> I came across something quite wonderful in my PhD research today.
>> 
>> I picked up a book on Frank Lloyd Wright, an American architect with a 
>> considerable global reputation, at the University library, therein I 
>> discovered that he was inspired for a series of window-frame designs, and I 
>> suspect for the use of proportion in his career, by the seventh gift of 
>> Froebel as his insight into proportion.
> 
> You should get the book Inventing Kindergarten by Norman Brosterman. There is 
> a whole chapter about the influence of kindergarten ideas (and behind that, 
> Froebel’s) on Frank Lloyd Wright, as well as other modern artists. Quoting 
> from its cover: “Using examples from the work of important artists who 
> attended kindergarten —including Georges Braque, Piet Mondrian, Paul Klee, 
> Wassily Kandinsky, Frank Lloyd Wright, and Le Corbusier, among others —he 
> demonstrates that the design ideas of kindergarten prefigured modern 
> conceptions for the aesthetic power of geometric abstraction.” Norman 
> Brosterman’s amazing collection of Froebelian crafts was part of a MoMa 
> exhibition, Century of the Child, in 2011: 
> http://www.brosterman.com/kindergarten.shtml. 
> But get the book, you’ll love it. 
> 
> Laura Rozenberg

Thanks so much Laura and Patsy for chiming in here, I’m going to get that book!

I happened to also borrow a book on the Bauhaus teaching methodology - 
following a research trail left by Erik Demaine on Curved Folding, and from the 
list of artist you mention Klee and, Kandinsky were teachers at the Bauhaus. 
Made me wonder if they are connected - being German - the time periods 
bookending… after a little more research, and I find the connection is already 
documented. 

"The Bauhaus ... including the way in which it was set up by Walter Gropius and 
Johannes Itten, its roots in the work of Friedrich Froebel” 
- Lerner, Fern. "Foundations for design education: continuing the Bauhaus 
Vorkurs vision." Studies in Art Education 46.3 (2005): 211-226.

Without reading Inventing Kindergarten, I can see the same visual and 
sculptural language in Froebel and Bauhaus. The visual and sculptural language 
- including origami - was being influenced by more than a casual connection of 
Froebelian methods, Froebel was in the roots of the course design. 

The transfer from Froebel origami to Bauhaus paper folding is a very 
interesting connection. 

This is a plausible reason as to why Albers was teaching paper folding in the 
preliminary course in the first place. Paper as a medium has an intrinsic 
property: it can be folded. Folding is geometry; is mathematics; is a 
structural language. 

This point in particular would be of interest to origami to know more about. 

Matthew Gardiner

[Origami] Froebel - Seventh Gift - origami and ratios

[Matthew Gardiner]

Dear o’listers,

I came across something quite wonderful in my PhD research today.

I picked up a book on Frank Lloyd Wright, an American architect with a 
considerable global reputation, at the University library, therein I discovered 
that he was inspired for a series of window-frame designs, and I suspect for 
the use of proportion in his career, by the seventh gift of Froebel as his 
insight into proportion.

It’s a set of 5 tiles, square, equilateral triangle, isosceles triangle, and 
scalar triangle, I made an illustration you can see for a short time here: 
https://www.dropbox.com/s/36p4hixaiqmwu8y/froebel-seventh-gift.png?dl=0

Its a magical set of tiles that each fit onto each other, similar to Tangram, 
but my favourite idea here is the √1 √2 √3 √4 √5 ascendence. As soon as I saw 
them, I thought, ahah! they are origami ratios, and sure enough the following 
page states the same:

http://www.froebelweb.org/gifts/seventh.html

I did not know that was one of primary reasonings behind Froebel’s love of 
origami, the beautiful ratios, and their relationships. It all reminds me of 
talking to Jun Maekawa in Tokyo, he said he loves these ratios in origami, and 
now, finally, some 10 years later, I get it. 

I guess that’s why we study, to actually learn things through our questions… 
asking what is the relationship between art and concepts, led me to 
architecture theory, back to geometry, to kindergarten education, and then to 
origami. 

Curious if anyone knows anything more about this topic?

best, Matthew

Re: [Origami] Folding 1000 Cranes

[Matthew Gardiner]

Hi David,

Last year we did a research project in Kyoto with Kyoto Institute of 
Technology. One of the researchers there investigated something about the 
origin of the crane, or the multi-crane usage, I forget what it was exactly. 
It's in Japanese and I have yet to pay for a proper translation of all their 
essays. 

When I do, I'll forward you the information. 

Best, Matthew


> On 26 Jun 2017, at 11:11 am, David Mitchell  
> wrote:
> 
> I have just been looking at what I can find out about the history of the
> Tsuru ... lot's obviously! ... but I am left with a question which I hope
> someone will be able to answer.
> 
> It is not clear to me when the now established tradition of folding 1000
> cranes and/or stringing them together arose. Every avenue I follow up seems
> to lead back to the story of Sadako Sasaki, who it appears did string cranes
> together in this way, but I suspect that the tradition is much older than
> that.
> 
> Does anyone know of any evidence to establish this, please?
> 
> Dave
> 

Re: [Origami] Folding 1000 Cranes

[Matthew Gardiner]

I'm sorry no, they are as yet unpublished as we are planning a publication but 
our other research is currently taking priority. 

If anyone would like to assist me with the translation I could make them 
available privately. 

Matthew. 


On 27 Jun 2017, at 9:09 am, Jean-Christophe Helary 
<jean.christophe.hel...@gmail.com> wrote:

>> On Jun 26, 2017, at 19:26, Matthew Gardiner <m...@airstrip.com.au> wrote:
>> 
>> Hi David,
>> 
>> Last year we did a research project in Kyoto with Kyoto Institute of 
>> Technology. One of the researchers there investigated something about the 
>> origin of the crane, or the multi-crane usage, I forget what it was exactly. 
>> It's in Japanese and I have yet to pay for a proper translation of all their 
>> essays. 
>> 
>> When I do, I'll forward you the information. 
> 
> Are the essays publicly available in Japanese ?
> 
> Jean-Christophe

[Origami] WINNER of ORI*FOX survey competition

[Matthew Gardiner]

Dear Friends, 

We held the draw for the survey participants to win a special edition of our 
ORI*FOX stole fashion wear. And, as luck would have it, the first winner was 
actually my mum, so to avoid the obvious ethical issues with that we did a 
redraw and the official winner is:

Adrienne Sack

Congratulations Adrienne, we will be in touch by email.

Thanks again to all the participants, we had 102 submissions globally, and the 
results are interesting indeed, we will publish them as self-published research 
freely available as a paper for general consumption.

All the Best, Matthew and the ORI*lab team

ps. dont worry, my mum will still get a prize!

 

[Origami] David Lister list

[Matthew Gardiner]

Hello 

this is mostly for any members of BOS on the list… There’s this great list of 
articles on the BOS site by a  David Lister:

http://www.britishorigami.info/academic/lister/index.php 


Does anyone know the date ranges for these articles - ideally I’d like to know 
the earliest publication date - some articles are published without a 
publication date.

thanks for your help!

best, Matthew

Re: [Origami] is that a waterbomb in there?

[Matthew Gardiner]

> On 18 Oct 2017, at 2:40 pm, Robert J. Lang <rob...@langorigami.com> wrote:
> 
> Thus spake "Origami on behalf of Matthew Gardiner" 
> <origami-boun...@lists.digitalorigami.com on behalf of m...@airstrip.com.au> 
> on 10/18/17, 4:15 AM:
> 
>>>>> 
> For instance, I’m sure that Fujimoto-sensei published plenty, and its clear 
> that Tomoko Fuse's spiral work is all what is now known in academic circles 
> as the Kresling pattern - though I haven’t gotten to the bottom of who 
> published first, Kresling’s demonstration of how to create one with buckling 
> is very very good, and Fuse’s spiral work is just beautiful.
> <<<<
> 
> A fairly thorough analysis of the triangulated cylinder pattern (sometimes 
> called Kresling pattern) was carried out by Simon Guest in the mid-1990s in 
> his PhD work. 
> 
> title={The folding of triangulated cylinders, part {I}: {Geometric} 
> considerations},
> title={The folding of triangulated cylinders, part {II}: {The} folding 
> process},
> title={The folding of triangulated cylinders, part {III}: {Experiments}},


Thank you Robert!

From the articles, it appears the inspiration was a model form the desk of C R 
Calladine who, after a little more research, seems to be pretty big in 
tensegrity structures. I can see how the triangulated cylinder pattern (also 
Kresling pattern is succinct) - could have arisen from investigating this kind 
of structure. Thanks again for the tip. 

Its nice to have a narrative for the development and discoveries. 

best, Matthew

Re: [Origami] math to study origami

[Matthew Gardiner]

>>My question is, ..., and could anyone give me some keywords or hints for 
>> the type of math I should be looking at?
> 
> There is some discussion of recommended math courses here:
> 
> https://origamiusa.org/thefold/article/careers-origami 
> 


Thanks Robert, a very useful article on how to make a career in origami. 

It includes some great math advice. A quick glance over the wikipedia page of 
Linear Algebra, some of it looks familiar, it reminds me of a lot of the 
origami math out there, and it looks like a pretty useful wedge into many of 
the origami problems.

thanks to others who offered advice off-list.

Matthew

Re: [Origami] What did Mark Kennedy use to protect the models for his pins?

[Matthew Gardiner]

> 
> I’d appreciate it if someone could tell me what product Mark Kennedy used to 
> coat his origami figures to make his pins and magnets.

I have a few, gifted by Mark to my daughters. I’m pretty sure it’s just a 
resin. Epoxy or polyester would work. Take care with material handling, gloves, 
masks and ventilation, as most resins have toxicity. 

The specific brand of resin, I’m not sure, but having done some resin work 
myself, most  work the same, they soak into the paper and make it hard, and are 
robust. 

Best, Matthew

[Origami] math to study origami

[Matthew Gardiner]

wow, I recently arrived back from 7OSME. What an enriching and enlightening 
experience. So wonderful to see such incredible work from the growing network 
of origami related research. Many presentations featured math, and lots of it. 
Perhaps the best lecture of the program (related to my query) was Tom Hull’s 
lecture on self-foldability. Not only was the topic super intriguing, but he 
did an amazing job of explaining the math, it was also super funny! It made me 
realise that the math was accessible, and not too esoteric. It also made me 
realise that I’d like to study math to translate my intuitions of origami into 
communicable ideas and software. I continued math all the way through high 
school and would have done more had I followed architecture, however I went to 
art school and learned how to further my intuitive skills instead.

Now I realise that math is a huge field, so I’m looking to tailor my study 
towards what I’ll need for origami, particularly kinetic origami, rigidity 
theory etc. I’m wanting to translate the ideas into software, or work with a 
software engineer and translate the ideas to them.

My question is, has anyone been through a similar experience of learning, and 
could anyone give me some keywords or hints for the type of math I should be 
looking at?

cheers, and all the best, Matthew

[Origami] ORI* PhD thesis now available online

[Matthew Gardiner]

dear o-listers, 

Firstly, thanks to many of you who gave periodic advice and opinions when I 
queried the list. Each time was most helpful and insightful, and I often 
omitted to thank everyone for their thoughts, so please consider yourself most 
graciously thanked!

By way of thanks and for general interest, here a link to the thesis free for 
download:

http://hdl.handle.net/1959.13/1397831

From there you can download the thesis free of charge, all compressed its only 
20MB, I suggest a large volume of caffeinated beverage if you plan on serious 
reading. If you are practically minded, skip to the latter part of the thesis, 
therein lies the fun stuff, namely the two techniques that propelled the later 
research, Fold Printing in chapter 6. and Fold Mapping in chapter 5.

It was very much a practical doctorate, I spent most of my time making systems 
for origami, designing processes and creating prototypes. Normally this type of 
document would have been shorter as creative disciplines allow an exhibition as 
part of the assessable outcomes. However, I really wanted the PhD to leave a 
strong trace for others to follow and extend upon, so I embarked on the more 
formal thesis approach. I do hope some of you find it of value to your own 
work. There are also many videos that accompany chapter 7 (the creative 
outcomes), so please enjoy them!

best, Matthew





 

Re: [Origami] ORI* PhD thesis now available online

[Matthew Gardiner]

> By way of thanks and for general interest, here a link to the thesis free for 
> download:
> 
> http://hdl.handle.net/1959.13/1397831

If the university link fails (as can happen…), please try this one from my 
dropbox :)

https://www.dropbox.com/s/hcmy7shig8gt6az/Thesis.pdf?dl=1

best, MG

Re: [Origami] origami patent includes water bomb pattern

[Matthew Gardiner]

> On 15 Feb 2019, at 1:58 pm, Robert Lang  wrote:
> 
> Thus spake "Origami on behalf of Matthew Gardiner" 
>  
> on 2/13/19, 10:07 PM:
> 
>Can anyone shed some light on this?
>How can write a patent including the a plain waterbomb pattern with no 
> publication citations?

I apologise for the poor wording of this sentence. Thankyou to everyone who 
managed to grasp my meaning. I meant to say: how can one write a patent, 
including the waterbomb pattern with no publication citations about the 
waterbomb? 

> Actually, there are citations of both publications and patents. But they're 
> pretty thin.

Agreed. I checked out the other patents cited and they set the stage for 
novelty as a new type of lampshade cover, folded lampshades and lighting 
effects. My question related to the lack of reference to prior art, in 
particular the plethora of origami and math related publications that discuss 
the water bomb. I understand now, thanks to some off-list emails that as the 
patent filer, you want the patent to pass, and not get rejected based on prior 
art. Others also suggested that the reviewer probably had limited scope of 
expertise. 

> You can say pretty much anything you want in the disclosure and spec, but 
> what matters is the claims. And these claims are pretty narrow! For one 
> thing, they only apply to a light cover, and in claim 1 there's a requirement 
> that the score lines be "digitally created", which would make it pretty easy 
> to circumvent.

Thanks for shedding some light on this aspect of the patent and patenting! I am 
really not up to speed with how the claims function. Whether or not the claims 
compound, or if they are standalone, but this isn’t the list to discuss that, 
so please see below for my Origami discussion of spirals. 

>does anyone know the inventor?
> 
> Yes, she's one of the artists in the "Above the Fold" traveling exhibition. 
> Her work is a gigantic cardboard Yoshimura pattern, which is pretty cool (you 
> can walk inside it).

Thanks both Tomohiro and Robert for giving me a context the artist/inventor and 
her work.  I’ve seen that piece via my PhD research, but only in pictures. It 
looks pretty amazing, great construction method and use of scale.

That work, and the pattern, Figure 11 of the patent, reminded me of Tomoko 
Fuse’s Spiral work from this book: Fuse, Tomoko. Spiral: Origami, Art, Design. 
Viereck Verlag, 2012. 

This is a really fantastic book, if you haven’t seen it, but its kind of hard 
to get. I picked one up from Nicholas Terry at CFC in Lyon France. I was amazed 
by the level of sustained variety in the one topic and folding style. Its like 
Fuse sets out to systematically show everything that is possible in this genre. 
Rather than just invent a model, she describes a whole folding system. It was 
very inspiring for me during my research to see how thorough an artistic system 
can be.

Speaking of research, my PhD thesis ORI* on the Aesthetics of Folding and 
Technology is almost able to be published, just the last few formal steps, 
which feel like they are taking forever. As soon as its out, I’ll post a link 
to it the list. 

Matthew

[Origami] origami patent includes water bomb pattern

[Matthew Gardiner]

hello o-list,

Can anyone shed some light on this?

How can write a patent including the a plain waterbomb pattern with no 
publication citations?

If you design it, yes, of course, but there are so many examples of prior art 
in academic literature as well… looks like one can file for any origami pattern 
they like.

See Figure 18… also Figure 11. Wow, one only needs to look at Fuse’s Spiral 
book for prior art. 

https://jiangmeiwu.com/wp-content/uploads/2018/03/Final_Published_Patent_JiangmeiWu.pdf

does anyone know the inventor?

best, Matthew

Re: [Origami] Sighting: Are You Developing Skills That Won’t Be Automated?

[Matthew Gardiner]

> As I recall talking to Joseph Wu, following a diagram to fold origami is like 
> painting by number.  Doing origami however, is about putting a bit of 
> yourself into the work. And I don’t think a machine can do that.

Totally!

It’s been an open question in generative, computational art for some time now. 
Can a system make creative decisions? The current consensus (for sake of 
simplicity of the argument) is that a good system can be a good design 
“collaborator” but in the end humans are making the judgement. Although 
evolutionary models are capable of making decisions based on criteria, humans 
are still defining and coding the criteria. 

Having done some work in fold automation and fabrication it’s an interesting 
idea, but still kind of far-fetched that a machine could even come close to 
human dexterity for origami. Sure, Devin Balkcom and some other teams have made 
origami making robots, but they are *very* limited.

The real frontier is scale, below what a human could ever fold. The 
self-folding Micro scale stuff is cutting edge, though mostly “kirigami” in 
style. 

We’ve got many years of reigning large over paper. We are “digital” origamists 
after all. Pun intended :D

Best, Matthew 

[Origami] Tokyo short visit open for lectures or otherwise

[Matthew Gardiner]

Hello,

I know its mostly folks from the US on this list, so pl

Re: [Origami] Technology and origami

[Matthew Gardiner]

> Kate Honeyman  wrote:
> 
> Does anyone know what if any relationship exists between origami and 3D
> printing  Kate

Toot... I wrote my PhD thesis and published a paper about a process called Fold 
Printing. It’s pretty amazing. 

There’s a bunch of links on this page. 

https://matthewgardiner.net/#research

This video gives an overview of the research project that found some of these 
ideas: 
https://vimeo.com/305345706

Also other researchers, engineers etc, the good folks at BYU, Robert Lang and a 
few Japanese researchers have published papers that include origami and 3D 
printing.

So, yes there’s some active research with origami and 3D printing. 

HTH 

Matthew

Re: [Origami] Â set of metal templates

[Matthew Gardiner]

> where to buy a set of metal squares and hexagons of different
> sizes that I’ve seen for cutting accurate shapes?
> 


Hello Laura,

this got me thinking, that there probably isn’t an origami specific version of 
this kind of product. I’m sure there are a lot of quilting and craft style 
ones, with multiple sizes. 

Origami specific templates, from my point of view, should maximise the polygon 
size from standard origami paper sizes. For example one could then cut the 
biggest hexagon from a 6” square. A template kit could include the regular 
polygon geometries: equilateral triangle, pentagon, hexagon (and maybe 
octagon), and be made to suit a variety of sizes: 3”, 6” and 10” or 12” (75mm, 
150mm, and 250mm or 300mm).

I haven’t seen anything like this on the market, and so I’ve just designed a 
set, and am about to cut them on my laser. If anyone is interested in getting a 
set, message me off list…

best, Matthew

ps. my first batch of oribokits sold out, creating the largest increase of 
oribotic practitioners in the history of origami, the next batch is due end of 
october https://oribokit.com

[Origami] toot update!

[Matthew Gardiner]

the link in the last email wasn’t correct, here is the correct link to the 
recording from Ars Electronica Home Delivery

https://www.youtube.com/watch?v=afPjMnW76bY 




best, Matthew

[Origami] toot! inside futurelab - origami robotics with matthew gardiner

[Matthew Gardiner]

toot toot!

I’m appearing live from Australia via Austria (go figure huh!) tonight on Ars 
Electronica’s youtube live channel.

13:00 Tuesday 26th May 2020 (GMT+2) 
(this is CET central european time)

see down the page here: https://ars.electronica.art/index.html for the daily 
broadcast

and here: https://www.youtube.com/watch?v=9RGanWhk0oM
for the actual live stream

its free! and you can ask me questions via the chat.

I will be discussing my research theme as part of the Inside Futurelab program. 
I will briefly present an overview of our work in oribotics (robotic origami) 
followed up with a peak into our research agenda for our recently funded 
research project which is titled: 

ORI*botics: the Art and Science of Robotic Origami

Part of which, includes an open call for computational origami contributions to 
an open source origami design package. I will distribute more information about 
this call when it opens. We expect sometime in 2021.

all the best, Matthew

[Origami] toot toot! first oribokit released

[Matthew Gardiner]

g’day!

this toot is about oribokit, it is my first origami and robotics kit, directly 
derived from my artistic practice of exploration the relationships between 
origami nature and technology.

you can learn more here

https://matthewgardiner.com/oribokit 

oribokit is my response to lockdown, cancelations and extended postponement of 
every active project and the sudden realisation that low-volume automated 
electronics assembly is a really cool thing.

The kit recreates a 2005 oribot (see 
https://matthewgardiner.net/art/Oribotics_Laboratory 
) using kraft paper and 
machine made washi, the kind usually used for shoji screens. The kraft paper 
folds up into the mechanism, which moves the washi petal. The paper sheets are 
all laser cut and perforated, making folding the project accurate and a lot of 
fun. Everything is hand fabricated in my studio, there are countless steps to 
design, test and fabricate each and every part. I use all methods at my 
disposal, everything from laser cutting, heat-shrinking, soldering, 3D 
printing, hand turning on my  beautiful 1960’s german watchmakers lathe, hand 
casting and a bit of hand finishing is involved. All you have to do is fold and 
assemble the parts. The controller comes ready to go programmed with a light 
sensitive sensor, so your oribotic blossoms become phototropic, reacting to 
light levels that you can set easily.

I am offering _free_ workshops to build the kit over several dates September. 
If this sounds interesting to you, and you are outside Australia (and your 
country still accepts parcels from Australia) then we need to get your kit in 
the post soon!

happy folding, Matthew

ps. I’ve tried to keep the kit cost as low as possible, but I understand that 
it has been a hard year for everyone, if you are really keen but simply cannot 
manage, please contact me off-list or message me via my facebook page 
https://www.facebook.com/oribotic  and 
perhaps we can still find a way for you to join in the workshop. 

Re: [Origami] Origami and axioms: 1957

[Matthew Gardiner]

> On 19 Jul 2020, at 18:41, Papirfoldning.dk via Origami 
>  wrote:
> 
> I got my copy of "Donovan A. Johnson: Paper folding for the mathematics 
> class" here:
> https://www.amazon.com/gp/offer-listing/B003TV5BBK/ref=tmm_pap_new_olp_0?ie=UTF8=new=1595147259=1-1-791c2399-d602-4248-afbb-8a79de2d236f
> 

I found it is also available from a government repository:

https://files.eric.ed.gov/fulltext/ED077711.pdf

Though I imagine a reprint would be much nicer, as the facsimile is rather 
noisy.

For anyone else interested, the section Hans has introduced is in the 
introduction on page iii. 

All the best, Matthew

Re: [Origami] Origami and axioms: 1957

[Matthew Gardiner]

> 
> This might be of some historical interest for origami and mathematics.

I’d say it most definitely is! Very interesting find. 

> The usual set of origami axioms are acknowledged to be formed by 
> Huzita-Justin-Hatori (https://langorigami.com/article/huzita-justin-axioms/).

Aha! So is it now Johnson-Hujita-Justin-Hatori axioms? JHJH is kind of 
symmetrical. 

> I've looked in Donovan A. Johnson: Paper folding for the mathematics class, 
> National council of teachers of mathematics, USA, 1957. Photographic reprint 
> 2019.

I’d generally agree with your summation of the points, however, there’s others 
on the list with more authority and knowledge that can offer more substantial 
input.

Do you happen to have a link to the publication?

Thanks, Matthew

Ps. Minor toot: I’m about to release a run of my new robotic origami kits: 
called oribokit :)
There will be some available for postage internationally. More info soon. 

[Origami] water bomb tessellation - Fujimoto discovery?

[Matthew Gardiner]

dear o-listers,

I’ve been looking for this for some time, but have not found it. 

I’d heard a rumour once that the waterbomb tessellation was discovered in the 
‘60s by Fujimoto. There’s not a lot of his publications around, there’s a few, 
but the ones I have had the chance to look through are amazing, but haven’t 
seen a waterbomb pattern design in any of them.  Would love a reference, if 
anyone knows it. 

thanks, Matthew

Re: [Origami] water bomb tessellation - Fujimoto discovery?

[Matthew Gardiner]

>> I’d heard a rumour once that the waterbomb tessellation was discovered in 
>> the ‘60s by Fujimoto. There’s not a lot of his publications around, there’s 
>> a few, but the ones I have had the chance to look through are amazing, but 
>> haven’t seen a waterbomb pattern design in any of them.  Would love a 
>> reference, if anyone knows it. 
> 
> I don’t recall seeing the Waterbomb tessellation itself, but a grafted 
> version is in this 1977 patent:
> 
> https://patents.google.com/patent/US4049855A/en?oq=US4049855
> 

Thank you Robert, for that reference.

It prompted me to dig again  into some references from my PhD work. I found a 
topology of a water bomb pattern from work by Miura and Tanizawa, it’s a figure 
Miura published in a couple of times in later papers.

in:

Miura, K. (1985). Method of packaging and deployment of large membranes in 
space. 31st Congr. Int. Astronaut. Federation, IAF- 80-A 31 Tokyo, 31st Congr. 
Int. Astronaut. Federation, IAF-80-A 31 Tokyo, 1–10.

and later in.

Miura, K. (1997). Fold—Its Physical and Mathematical Properties. Origami 
Science and Art: Proceedings of the Second International Meeting of Origami 
Science and Scientific Origami, 41–50.

I don't have online links for these papers, but have copies in my library.

The pattern occurs in Figure 3. which I’ve copied for reference below, where 
(8) shows a pattern that I went to the trouble of reconstructing and tiling in 
3D. My model clearly shows that this is topographically equivalent to a 
waterbomb tessellation. 

https://www.dropbox.com/s/ygqnk351441zkpo/miura%20fold%20mathematical%20physical%20properties%20-%20figure%203.pdf?dl=0

The referencing work, which I’ve yet to source, details the method which is now 
of great interest to me:

Tanizawa, K., K. Miura (1978). Large displacement configurations of bi-axially 
compressed infinite plate, Trans. Jap. Soc. Aer. Space Sci. 20, 177–187.

So 1977, in the patent you cited is a grafted waterbomb, but in ’78 there was 
this discovery, but it seems it was nor pursued or converted into a crease 
pattern or generalised in the same way that Miura got excited about the 
Miura-ori. 

There’s a question I’m still working on, due to the missing knowledge of the 
paper and method. Miura’s papers indicate that the patterns in figure 3 are the 
result of a calculatio. I’d thought it was a physical experiment, where they 
crushed paper, but now I’m thinking it was all math. I’m wondering if they saw 
the results in (8) and (9) and decided they were ’noisy’ versions of the 
miura-ori.

best, Matthew

[Origami] EXPLO Origami Engineering Teaching Opportunity

[Matthew Gardiner]

G’day o-listers!

I wanted to share an origami + engineering opportunity with the group. 

I’ve been writing the curriculum for this brand new course. I was planning to 
teach it this summer in Boston, but unfortunately, due to a backlog of VISA 
applications at the Melbourne Embassy, I was unable to secure a working VISA 
for the US. 

So, lucky for someone else! There is a summer job going to be the lead 
instructor for this course! There are also teaching fellow positions. See the 
contact at the bottom of this email for the opportunity!

The base technology for the robotics is my origami + robotics kit called 
oribokit https://oribokit.com

Please note that the EXPLO kit will include two brand new oribotic design 
releases, so you’ll be the first in the world to play and with these new 
designs!

Feel free to email me off-list if you have any questions.

best, Matthew

— — — — — — 

ABOUT EXPLO https://explo.org

Ann and Arnie Singal founded Exploration Summer Programs in 1976 with the goal 
of creating a unique summer experience for high school students that combined 
the best aspects of summer camps — close friendships, activities, and adventure 
— with a focus on intellectual engagement and lifelong learning. Arnie was 
inspired by his experience at MIT, where he witnessed a number of innovative 
initiatives around student-driven transdisciplinary learning. 

We believe that if education is going to better serve humanity and the planet, 
it has to be reimagined — and this leads us to hunt for insights. EXPLO has a 
team of educators pursuing emerging ideas in science, art, business, 
psychology, medicine, politics, engineering, technology, education, and beyond. 
We bring these ideas back to the Exploration Center, our 30,000-square-foot 
headquarters filled with labs, maker spaces, studios, a woodshop, and more. 
This inspiration fuels the design of unique summer learning opportunities, 
which combine hands-on learning with the rigorous exploration of ideas. 


ABOUT THIS POSITION: 

Engineering Lead Instructor Inspired by the emerging field of origami robotics, 
Explo’s Engineering concentration has been reimagined. The art of paper folding 
is influencing engineers across a variety of fields, from informing the 
development of tiny medical stents that unfold inside the human body, to 
inspiring NASA’s James Webb Telescope designed to unfold in space. Students in 
this concentration will develop their own origami mechanisms, and explore the 
variety of ways in which they can be adapted to serve real world needs. Through 
hands-on experimentation, they’ll combine their mechanisms with motors and 
sensors, and bring them to life with code. This course will broaden students’ 
thinking beyond traditional mechanical engineering, and allow them to develop 
their own ideas with approachable materials and technology they can continue to 
experiment with well beyond their time at EXPLO. EXPLO is in search of an 
individual with an openness to experimentation and experience working with 
paper circuits, mechanical design, and computer science. We recognize that this 
is a unique blend of skills, and are excited to work with individuals who may 
have strong content knowledge in one or more of these areas, and an interest in 
expanding their skills in ways that are aligned with this course. As the lead 
instructor of this course, you will be provided with a curriculum, and 
resources to support you in facilitating learning experiences which center both 
hands-on learning and academic rigor. You’ll also be supported by an 
Instructional Coach, and a community of educators. 

This is a college-credit bearing course, being offered to high school students 
in grades 10-12. The duration of this course is two weeks. It will run twice 
this summer on the Wellesley College campus. 

● Session 1: June 26 – July 8, 2022 
● Session 3: July 24 – August 5, 2022 

Please contact our Director of Teaching and Learning, Kristin Osiecki, for 
additional information: kosie...@explo.org.