Mile cee TOMOKO FUSE SPIRAL ORIGAMI | ART | DESIGNis a book about folding ideas. A id full of magic curves, paper figures hard to imagine, are represented here, A SPIRAL is a fascinating and complex Ue SUC Ora teee cc) herself with for many years. RUS aon Ceo Pee eae) GER ee Raat in these spirals? How to explain the path, the proper way to get to these fo How to present three-dimensionality and een A SY Tomoko Fuse on the flat pages of a book? eee Tre mo aed Pe sue eta LoS a a challenge for me and all who have been Pree Re oacs Are we discovering Origami or is Origami discovering us? With the realization of this project, the first book of the VIERE‘ WNC RRC Tea DEIN RCRD ace Rat Prec eas co en anne ra a)Ai ako TOMOKO FUSE SPIRAL ORIGAMI | ART | DESIGN UyFUSE, Tomoko SPIRAL. - ORIGAMI | ART| DESIGN, Published and distributed by VIERECK VERLAG Freising | Germany swwevereck-verlag de Fst published 2012 ‘SBN 978-3-941927-08-1 Copyright © 2012 VIERECK VERLAG ‘ACIP catalog record of this book is available from the German Library, Al rights reserved. No part ofthis publication may be reproduced stored ina retrieval system or transmitted, Jnany form or by any means, electronic, mechanical, o otherwise, without the writen permission of Vireck Verlag, Printed in Germany by APPL seller druck Grnbl wowappldeETThe Spiral isa spectacular form, dynamic and full of energy. This book shows the results of my informal spontaneous experiments of folding spitals and is not really a document of detailed scientific research, The results that | have obtained are the outcome of folding, and not from attempts, to imitate nature. Often | exclaimed »wowle out loud when the peper formed Unexpected shapes, even after random folding: this was a surprise gift from origami: | hope that this book conveys my enjoyment in these forms, and reveals new paths to.explore in origami. Tomoko FusePREFACE At first, | wondered what this book is about. When I opened the pages, the coherent and multifold beauty of the images caught my eyes, and, reading on and on, these images infinitely expanded their own worlds. do understand that itis an origami book, but itis much more. The term origami model often reminds us of a kind of paper sculpture enclosed in a finite space. This is also true of the models in this book, However, once ‘we pay attention to the essence of any model here, we can find ourselves either released into an infinite space, or alternatively swallowed into an “infinitesimal space Why? Let me point out the fact that, even though spirals are based on a circle, they can expand out of the circular space by altering the mode of curving litle ty litte, Ms Fose magically handles delicately pleated layers in such a way that she is spinning paper with them. Only a little change in her manipulations with the paper can results in various styes of spirals, energetically running through space, The curves there often seem beyond any possible shapes of origami. ‘Once Ms Fuse talked to me about her way of folding sist | imagine, at random, ‘hat shape I would ike to fold. While folding the paper, the image of the final shape gradually materializes. n other words, | am creating the mode! guided by natural property of arigami.« |.am certain that, in the vioads in the mountain of Shinano, Japan, many beautiful spirals are created that we would otherwise never have seen, Professor Koryo Miura Professor Emeritus, University of Tokyo Professor Emeritus, Inst. Space & Astronautical Science, JAXAHELICES AND SPIRALS iwo-layered Helix Two-layered Helix with Hole ur-layered Helix Helices from Trapezium Flying Bull Spirals Spiral from Tape Triangle Spiral Pentagon Spiral Hexagon Spiral Nautilus SPIRAL SHELLS it Shell 22.5" Segments Shell 15° 5 Flat Shell 18° Segments Nautilus with 12 ments Nautilus with 19 Nautilus wi Navel Sh Navel Shell Variation Ammonite Screw Shell ‘om a Square Serew Shell -The Screw Shell Screw Shell Variations Decorative Right-angled Spiral Modular Spiral Shel M ral Shell Long Version Weathered She 13 9 a7WHIRLPOOL SPIRALS 150 he Notation a of Cease Patter 152 MORE HELICES AND SPIRALS 218 Right-Angled Spr 22 an 279 283 289 289 293 294 403 307 ABOUT TOMOKO FUSE 310 A portrait by Florian AicherSYMBOL LEGEND ml moo me mom a mai ZA ft CFCEE GGG Terkel DonanSpirals and Helices are geometric structures that occur inthe smallest largest badies within the universe. Their shape occurs in the infinite cosmic clouds of the Milly Way, a5 well a5 in the iniest bio-molecules. The beauty nite geometry evokes marvel and tranquility in the eye of the beholder, as he senses that there are entities in life that possess neither beginning nor end. 2D He OY FE IS UF EON <- 2 Ayr OK HELICES AND SPIRALS In both the natural world and the man-made world, there are many convoluted objects. The curling tendrils of climbing plants, shells, rams’ horns, spiders’ webs or DNA are some ‘examples of such things that can be found in nature. Corkscrews, mainsprings, coil springs or soft serve ice cream cones are cases of man-made objects. For convenience | classify them in two groups: Helices are three-dimensional curves that wind around an axis often at a constant distance while moving parallel to the axis. Spirals are mostly two-dimensional curves that wind around a fixed centre point at a continuously increasing distance. Using a narrow strip of paper you can easily create both: a spiral by winding it into a coil, and a helix by twisting it at both ends. In origami, however, we use straight folds only.Swe os 1) no aaySIMPLE HELIX| TWO-LAYERED HELIX5 gas a fi a : tn Vt ‘1 Ml x uy \ \ 4 ‘ ‘ 5 6 th ayers together 10 eee Move the slighty apart and fold layer separately using only the exiting creases without changing their orientation View of reverse sideone wait,LAYERED _ TWO-FOUR-LAYERED Seen HELIX We continue applying the same folding technique to a four-layered rectangle. Fold « layers together in the same way as in steps 4 to 7 of sTwo-layered Helixy ‘on page 2 and open again, 5 ‘Change centre line to valley fod, make hex according tothe precreases.HELICES FROM TRAPEZIUM Use trapezium-shaped paper for making helices in the same way as before, Cease patterns A and B give you some hint. For the models shown in the photos | used paper considerably longer than that shown in the cease patterns. Also the distances of the creases may vary, Hint It igh be easier to colapse the el tp @ of sTuo-ayered Hebe on page 26) starting wth the narow end of the trapezium. PATTERN A PATTERN B Crease patiern As the simplest one for trapezium: Crease pattern B shows several variations: The shaped pape, The forizontal creases are equidistant distances and inclinations ofthe ‘horizontal creases and the diagonal creases accordingly aligned, The vary slightly in a mote or less arbitrary way fom folding method isthe same as for the sTwo-layered bottom to top ofthe trapezium. You can invent your Hele on page 25, ‘own rules for the distances and inclinations of one St of the creases The second set will always suit from aligning it with the fist set.NiKSAAKAKRASFLYING BULL In 2005, the wide!SPIRALS You can obtain different spiral objects by using diferent paper shapes compare ‘and B) or ty changing the orientation ofthe agonal creases (compare At With A2 and B1 with B2 on the following pages The gathering of regular straight lines results in beautiful curves,SPIRAL FROM TAPE You can easily fold a tape into a Spiral of Theodorus, also called Einstein Spiral ‘or Pythagorean Spiral. [tis built by contiguous right angled triangles. The hypotenuses ofthe triangles are the radi of the spiral. Their lengths are the succession of the square roots of the natural numbers, if the width of the tape is 1. See diagram of step 8.TRIANGLE SPIRAL Begin with an arbitrary elongated triangle, Different acute angles a result in ifferent shapes. Except for the initial crease, always fold a raw edige to the folded edge created in the previous step.PENTAGON SPIRAL The basic triangle is cut from an Ad format. The smaller the angle tis, the more coils wil result in the spiral The marks in Fig. 1 correspond with the marks in the diagrams, as you will see as the folding progresses. Fig.1 Angleatshould be less than 15%.HEXAGON SPIRAL The intial shape isa triangle cut from an Aé format. The 90° marks in Fig. 2 correlate with the marks in the diagrams, as you will se as the folding progresses. The acute angle should be less than 15*, Different angles a result in different spirals. When you use the same folding method with a tape with parallel sides ‘you will et a regular hexagon instead of a spiral. KAI - 2 A2YV}NAUTILUS Begi will becomerl most precious thing bestows on us: the peat lie in your hand, Tomoko Fuse’s paper shells feel mysterious and secretive. f you held them up could SPIRAL SHELLS Spiral shells are the main theme of this chapter. To make you familiar with the rules of spiral folding | begin with flat spiral shells varying in the number of segments and the segment angles, all folded from a square. Although it is not my intention to imitate nature you will realize that nature follows the same or similar rules in forming the shapes of its own creations. Various shells of snails and cephalopods, some of them already extinct and today existing as Fossils only, will ilustrate this point In the final part of the chapter | shall present. modular spiral folds and show how to fold some shells with this technique. Using this method folding is much easier and you can use papers of different colours.Na BV IELSFLAT SH ELL 22.5° SEGMENTS Look at Fig. 1. The lines ofthe spiral named A to Feross the rai at right angles. These lines are referred to in the diagrams by these letters, The number of segments (10, 1 0¢ 12} we will get in the finished model depends on up to which line (D, E.orF) we are folding WITH 10 SEGMENTS yi 1 2 ye A XC ot410 foldine A / / ie is = —Y A / ri 13. foldinecs 416 fod nie 14 45 Pleat counterclockwise using ‘the precreases made in steps 6t0 12,WITH 11 SEGMENTS Ss co | NEWITH 12 SEGMENTS Continue with step 16 of sFlat Shell with 11 Segmentse on page 73,WITH 12 SEGMENTS 22. Untold step 22 of vat Shell with 12 Segrentse 27 Chose the shel again using the ‘existing creases, Fold lap inside and pus the edges round,10 seaments 1 segments T2segmentsFLAT SHELL s+ scovenrs For this shell the paper is divided into 24 segments of 15° each, The folding jethod is the same asin sflat Shell 22.5° Segmentss on page 71. The exact Position of the centre point is not critical. Steps 2 and 3 help you find a centre ition that will work. Do your own experiments with different positions! To ‘the most beautiful result the amount of paper that is folded away in step 13, should neither be too much nor too litte. WITH 17 SEGMENTS Fig.2 2 Pinch near the raw edge only. 3 Mark intersection of raw edge and diagonal eeaseS Ropest behind 9 Reverse mountain creases to valey creases, \ ] WK 410. Add more angle-bsecting a4 valley creases. 13 Fold inside. tea 12 Complete inthe same way asin ‘fiat Shell 2.5" Segments on page 71 from step 6 onWITH 18 SEGMENTS ‘Make and use the additional creases as in sflat Shel Variation with 11 Segments on page 74.VAT SHER «aor Ny TZ For this shel the paper is divided into 20 segments of 18° each Wed Re | PRS WITH 14 SEGMENTS OODFr S Fold all ayers 10 Add more angle-bisecting 14 fold ine A 12 Complete in the sime way as in valley creases. flat Shell 225° Segentse on page 71 from step 6 on. 13. Fold inside10] 1] 12segments segments segmentsBUTTERFLY ON LEAF Although nota shell, the models included inthis chapter, because the folding method is ‘the same. When you use translucent paper, you can see the veins of the leaf clearly. Four "corners ofa square become the wings of a butterfly. This one of my favourite models, "because a square sheet of paper is perfectly brought toi 9 Fold sight angle an cach radial 10 aa cease o continue the spiral euve Eja vy & O* TR | wy 415 416 Fold the other side inthe same way a steps 510 14, 18 1923 24 Use the petal fod ceases to colapse The petal fol is hidden inside 25 Pleat using ex wing shoul b sting creases The 1e0n the outside 26. Pleat the other presreases in the same way taking care that excess paper (the wings) aluays ‘comes t the outside 27 Fold the wings tothe other sie. 28. Repeat steps 25 to 27 on the other side-ARGONAUTARGONAUT VARIATIONNAUTILUS WITH 12 SEGMENTS The number of creases made in steps 1 and 2 determine the number of segments of the nautilus The key to smooth rolling is shown in sten 3. You can also cut off the unwanted parts, Recommended paper size is 20 x 20 cm or larger. \ZS7 4 Copy creases to upper layer7 Pushin both sides. Marked 8 9 10 . commer meets mountain crease 12 foldin the protruding parts on both sides.NAUTILUS WITH 18 SEGMENTS LeNAUTILUS WITH 26 SEGMENTSNAVEL SHELL “This origami shel is folded from a square In nature, there ia real species called ~ Moon Snail Shell on which this model is based, But Ive chosen the name Navel “Shel [feely translated from WEISLO) 5127: the Japanese name for this -specis), because ofthe nave-ite hole that appears on the bottom ofthe shel Itis nota regular pial Ove vvr"Fold with increments of 9 15eacha total of 19, steps in the same way, a4 o 14 Start foding cover folds at the narrow end, 415. Putthe cuting end on top. “O= 17 Valley fold, align folded edge 18 con away tneNAVEL SH ELL VARIATIONAMMONITE ‘You can fold the ammonite in various versions depending ‘on the centre angle and the angle of spiality. To ‘construct the crease pattern for this model use a template to mark the angle of spralty Se The instructions on this page refer to an ammonite with 45° centre angle and an angle of sprality of 15 In this ease the centre angle 45- 2 Usea template tocreate the crease pattern 5 Fold in the same way as in Navel Shel from step 1500n page 108SCREW SHELL FROM A SQUARE Although this model can be folded without using a too), the finished model may become more beautiful if you use a pointed too! like a scriber or awl to score the creases. Dive the corner ange int eight 2s equal pansWOE 16. Fold inside. 17 Ifyou shape the shells body whorl 48 Step 17 seen from below ‘ow, step 22 wll become case : 22 Fold the shells body 24. Corte nist whorls in step 17, to make the screw 20 Twist,SCREW SHELL - THE SCREW This spiral part can be folded using arbitrary central angles, Smaller angles result in smaller and tighter screws. In the instruction below we use @ centre angle of 60° As A beSCREW SHELL The spiralis made from part a as shown in sScrew Shell - The Serewe on Page 125, Again the centre angle is arbitrary. Also the proportion at is not fined, Part b is used to make the body whorl of the shel, Here we show how to fold part b. Again the centre angle is 60° & 5 Moke sharp creasesSCREW SHELL VARIATIONS Various shells can be made by changing how to bring the shells mouth together, and by changing the central angle. Get inspired by the crease patterns below. Use different centre angles,DECORATIVE RIGHT- ANGLED SPIRAL This modular fold is based on a model by Toshikacu Kawasaki made from one sheet ‘of paper. With modular or unit origami however it is much easier to fold and one can ‘also combine different colours in one model. Take the opportunity to practice the Right Angled Spiral Fold, It has many applications, —— : 9 Wwwy Unfold 40 2x 2x ASSEMBLY METHOD ‘Align the point marks, stacking one unit on tp ofthe previous one 4 Foldin the order indicates by the numbersMODULAR SPIRAL SHELLBASSEMBLY METHODMODULAR SPIRAL . SH ELL LONG VERSION= Oo 10. Fold spiral 4A. Unfold ASSEMBLY METHOD 1 ‘Stack modules withthe marked points on top of eachother2 3 Make pyramid (upside down Fold spiral, wir the ends and arrange aperture.- WEATHERED SHELLASSEMBLY METHOD 1 Stack madules with the marked points 1 top of each othe Unfold the outermost mountain fala ofeach ofthe four wings. 4 Fold spiral 6 Bring counterclockwise the marked comers over the mark ofthe next wing and bend the protruding tip around the ee. Steps Zand Bshow more advances Stages ofthis processA 4 - z 3 > WHIRLPOOL SPIRALS The subject of this chapter is to fold sheets of paper into what | call Whirlpool Spirals: regular polygons such as squares, pentagons, hexagons or other polygons of the same kind, are stacked one on top of another. The spirals are formed as each additional polygon layer reduces in size and rotates in a distinct way. All these spirals have some regularities in common, and that the polygons can be rotated freely in a certain range. My aim here is to show the artistic aspects of these spiral ideas. Professor Taketoshi Nojima has independently developed very similar theories in an engineering context. The concentric polygons, diminishing and rotating rhythmically in successive steps, can be rendered on a two-dimensional plane. When folded with real paper with some thickness, however, some will pile Up into towers outlining beautiful spirals, some are akin to rosettes or overlapping leaves of plants, and some remind us of conches. The reverse sides also show beautiful scaled patterns.TKO SMM ASTC Ema elOeEXPLANATION OF THE NOTATION AND CONSTRUCTION OF CREASE PATTERNS Fach Whirlpool Spirals named by a set of three numbers. The first ‘one is the number of corners ofa regular polygon called primal polygon. The second number f the angle of rotation (Greek letter rho} and the third number isthe angle of spirality o (Greek letter sig), let us call them primal angles. tating 4] 10| 20 asan example 4, the angle oF sirality , the angle of rotation 1 the amber of comers ofthe primal plyion The legend explains the respective meanings The crease pattems forthe Whirpal Spirals are constructed in thre steps. Instep 1 we choose specific values forthe primal anges: the angle of rotation ( and the angle of spirality 0. The possible values of these angles depend on, the numberof cornes ofthe primal pohgon Instep 2 we construct abasic triangle with two given angles. The frst ofthese angles the angle of rotation The second ange is aleulate from the primal angles p and 6 anda secondary angle thats dependent on the primal polygon as shown on the folowing page instep 2. primal number n(n cas the primal polygon isa square) of basic tangles ae agned along their lng sides wile cach sted atthe rotation angle toward the previous tingle Then copies of the row of triangles are scaled down to fit int the gaps oftheir preceding rw to ge the complete cease patternPRIMAL POLYGON AND PRIMALTRIANGLE naa B'=360"In a’=(180"-6/2 A) lon O'epstepinass — O' Or OK S MO EIS OF AKON S SF patterns and rearranging the orientations and alignments of some creases, a multitude of spiral towers can be constructed. One species of this group was featured in an article The Infinite Rabbit Ear by Ernst Blduensten in 1992 in the origami magazine der falter. Sometimes origami seems to be Then I continue with Coil Folds, cylindrical versions of the Whirlpool Spirals shown in chapter 3 and Pako Pako, a neat toy made from a Coil Fold. Some spiral-faced solids and @ number of solids enclosing helices complete the chapter.MM MORE HELICES AND SPIRALSST AE Aa RIGHT-ANGLED SPIRALS1 Fold the left hand double aw edges tothe folded edge Type 8 with small 7 centre ange 5SPIRAL TOWERS ‘mountain fold valley fla pages. Combine three or four of them to he 3D Spiral Towers.CREASE PATTERN BY ERNST BLAUENSTEIN Type Ax on page 227 with a centre angle 22.5° has been featured jauenstein in the German Origami ized as follows, ; they become figure 2 The Spir FIG. 2 / The extra section onthe right is used as a tab to glue the tower, Ernst Blauenstein's version with centre angle 22.5°Fig, 2 from previous page is contained within Fig. 3. n Fig. 3 the endpoints of the highlighted lines are inline with logarithmic spirals. These lines run continuously over the entire crease pattern in Fig, 4, which is actually four times Fig. 2, arranged rotationally. ABS SET PST See Mr Est Blauensten actually used the EXBKS pattern of figure 2to make a lamp shade. yb Tomake tower or lamp shade, the Uunshaded part in figure 2 needs to be cut Off Precrease the pattern then form a RAR ENS NY ‘square pyramid and arrange the creases. INES TREO DT aliM Aceh ee GcSPI RAL TOWER VARIATIONS On this and the following pages | show some variants of the A and B type Spiral Towers. Not all of them ean be folded into flat figures. Observe the hints in the crease patterns ike equal divisions of angles and 90° an Connect 3 or 4 basie patterns to get the full crease pattern, The centre angles can vary in some degree. TYPEAs22)5° TOWER BASE: SQUARE 4x | & Ms A I\ | Inside viewTYPE A’ 30° TOWER BASE: SQUARE Inside view.TYPE A’ 45° TOWER BASE: TRIANGLE Inside viewNIYPE B 22,55 TOWER BASE: SQUARE Inside viewTYPE B” 45° TOWER BASE: TRIANG!COIL FOLDS With Coil Folds you can fold eyinders that can contract and expand. A good ‘example of a col fold isa Japanese lantern. Japanese lanterns are made of coiled bamboo frames that are covered with Washi Coil Folds do not need a frame, just paper and creases. ‘According to my definition in xHelices and Spiralse on page 18 Coil Folds are helices EXPLANATION OF THE CONSTRUCTION OF CREASE PATTERNS AND THE NOTATION Coil Folds are variants of Whirloool Spirals with angles of rotation » = 0° Therefore the same rules apply to Coil Folds (see sExplanation of the Notation and Construction of Crease Patterns on page 153). The simplified rules with 'P = 0° for some primal polygons are shown below and on the following page SQUARES ° PRIMAL POLYGON AND PRIMAL TRIANGLE ona nas: Special case 2, co fold doesnot have a hole 030 Bay ne Oreo sana 30 | Bas pouaeesHEXAGONS PRIMAL POLYGON AND PRIMAL TRIANGLE o=a'=6r Special ease 2, cl fld doesnot have @ hole 020° B30" n=6 B= "8-30" 020 | B30" O'<0 sa'=60" OCTAGONS PRIMAL POLYGON AND PRIMAL TRANGLE o=a'=6r5" Special case 2, coll fold oes not have a hole oss B25 n=8 Orca sa’=675" B= np =25° 04s: B25DECAGONS Pawar AND PRIMALTThe Coil Fold notation is similar to the notation oF \Whirlpoo! Spirals. The legend explains the respective meanings. Taking 4|30|S asan example 5, for Standard stacking 10, the angle of spray 1 the number of corners ofthe primal polygon, a square in this case raking 4| 30 | Mi asan example WY, for Mirror Standard stacking 0, the angle of spralty 1, the number of comes ofthe primal polygon, square in this case S | Standard The erease patterns in the standard case S are consttueted as shown in 3. Construct the erease pater on page 168 by stacking rows of base tangles, Because ofp = 0° theres no seating down of the successive ws andthe sides of the erease pattems remsin parallel, However, besides thestanderd sacking case there are some ational cast. M | Mirror Standard ln this case each ow of tacked basic trials isthe sitroximeage ofits predecessorrom H | Hexagon In this case the stacked pairs of triangles (paalelograms) are converted into hexagons by exchanging te top and bottom edges ofthe pralelagrams by the sides ofan isosceles triangle with centre angle 180°- 2. Have a look 2 an appropriate crease pater onthe next pages to understand this cose, MH | Mirror Hexagon Inthe coe both ofthe operations Mand Hare apple ute eat MSP | Mirror Space Inthe M cases vertically running igeag mountain and valey creases meetin snae vertex when eossng the horizontal vale creases. Inthe MSP cases the mountain vertices are moved away a certain amount (=space) from the valley vetoes. Have ook at an appropriate crease pattern onthe next pages to understand ths case135° = 180" 45°(B) COIL FOLD 4|30|HCOIL FOLD 4|30|MHCOIL FOLD 4|30|MSP 2COIL FOLD 4|30|MSP 4~ COIL FOLD 6|30|Mee \ ies SS ei SS “alyEET, LEE OT EET COIL FOLD 8]45|SWILLE, WI, WLLL. Wf, YL, AGILECOIL FOLD 8/45|MHPAKO PAKO PLAY t TARO TORIUMIOCTAGON PAKO PAKO PALLY —————(/ARRSEEY® Fi Aa Mad ssiaeDECAGON PAKO PAKO VLLEELLLL LG ESSWLLGQGSH PLLLLLLL LLG RASSLSSSNVVA ESSNLLGLV ELLLLL. LLLLL]a SPIRAL-FACED ae CUBE oe First make a template In step 1 copy the first valley fold from the template. IF you use a narrower strip, the spiral will get more windings. Cutting off the excess paper in step 3 makes sharper ends: this is better than folding away the | | | | : excess paper LGA vas We 1. Copy from the template. O af uf-%& 6 Aight angle spra fold12x ASSEMBLY METHOD. Assemble 12 units in the same way. 2 See also assembly method of Decorative Fight-ailea Spiral on page 134SPIRAL-FACED CUBOCTAHEDRON — f° ——— a aes ) a Re peek rehtASSEMBLY METHOD Fist assemble 3 units into cluster. Then assemble 8 clusters into theRHOMBICUBOCTAHEDRON DOUBLE CUBOCTAHEDRON 8x 14x 24x 3xSOLIDS ENCLOSING HELICES PETAL UNIT or How 10 MAKE THE SOLID FRAME This seetion describes helices which are enclosed within open-frame solid. The Folding method for all frame units forthe solids shown in this book (icosahedron, tetrahedron and octahedron) isthe same, However you can use different paper formats. Depending on the ratio of its sides you will get wider or narrower frames. Because this Unit can be used for all edges with 60° corners at both ends I refer ta it as Edge 60-60 Unit, When you use square paper for this unit, a finished icasahedron wil look like @ blossom when a vertex is viewed from above. Therefoye | sometimes call ths unit Petat Unit ' r i fi | a ' ' ' ' ' | ene 1 2 3 4 5 6 7 8 Aftercrasing 9 30x ide the fap,°maeS > BE “arFUSoOHBexkTETRAHEDRON - THE FRAME To make the units for the tetrahedron frame use an A-format paper eut in half lengthwise. Fold in the same way as shown at sPetal Unit or how to make the Solid Frames on page 289,TETRAHEDRA ENCLOSING HELICES | wil show several different helices to be enclosed in tetrahedron frames. The helices divide the volume of the tetrahedron into two equal parts. Therefore | refer to them as Divisions-A to -E DIVISION A Have a look atthe tetrahedron in the top box on this page. ts comers are denoted abe and d. The triangle bce is the middle part cof very simple helix that divides the tetrahedron in two equal parts. The triangles abe and cde ate the end parts ofthe helix 5 ofthe tetrahedron, Steps 1104 show and lie in vopposites how to construct Helix Divsion-A from a square. To avoid the construction creases use the result of step 4 as a templat and copy the divisions you use for your models from this template. The template will also be used asa base to construct the other divisions tha acead=be=cd=bd= 1 ae=ed=bf=fe=%DIVISION B Cut two Division-A units to the centre and interlack them, * DIVISION C The right half ofa Division-A is turned upside down. cA 4 pleats DIVISION D Helix Divsion-D has four pleats in its erease pattern, To construct it, add line L to the Divsion-A template and take its length as the hypotenuse of aright-angled triangle [see step 2) whose one cathetusis b-E. The areas. ‘marked A, B:m, Cand D make one half of the Division-D. Crease pattern, Rotate it about 180° to receive the other half (Bum is the mirror image of 8)DIVISION E Helix Division-E has @ pleats in its erease pattern. To 1e Div ines Lt to L3 to on-A template ns as the hypotenuses of right-angled whose one cathetus is b-f The Fm, G and H make one tern. Rotate it about 180°D+C DIVISION D+C You can combine halves of D and € to get Divsion-D+C. DIVISION E+C You can combine halves of E and C to get Division-E+C. E+COCTAHEDRA ENCLOSING HOURGLASSES Jse the same frame units as for a tetrahedron (page 293), Put an octahedron on the table with a triangular face touching the table. The next octahedron is put on top of the previous on a triangle rotated about 60" 1¢ hourglasses inside the pile of octahedra as showin in the photo. Take Place t care of the orientation of the hourglasses in order to have a proper heli Crease patter for the octahedron hourglass The pape format ff the hourglass is 3x1 Length of octahedron edges = 1ICOSAHEDRA ENCLOSING HOURGLASSES310 ZNs1OUH TOMOKO FUSE Origami is an art with a personality, involving the hands Parmele Romer a Pee Ra Cur tes Every origami piece is designed, created, folded, constructed by an individual, Origami is not only @ tradition, but @ living culture: the fruits of human creativity. cnn MOO. Og ie mR eee EC) Poe aS ecm as Tog reece merits Re eRe ee Leone eu oN ae conducted by Florian Aicher in 2010 after the opening of the exhibition YOROKOBI, which took place at Holzwerkstatt Sc Cimino ota Florian Aicher, you will find Tomoko's own statements, made during a video for Kinokuniya, Tokyo. Herbert Bungartz, the photographer for the whole book, Reve eRe ROB ON eee Rule aCe Ul erat Ce TROLL}312 TOMOKO FUSE A De BY FLORIAN AICHER UNFOLDING THE WORLD itis the morning after a spectacular opening Peer act nce os ornare el jalk into the exhibition space - there she is, rhe eee Sons emcee Ps Gee ee Mime See ese een a ieee ae rear a whimsical smile on her lips, wearing carefully Benenerrs LO aCe Tomoko Fuse: From the Hands Releosi by Kinokuniya - TOKYO (Documentary 1997 eee ns Me eae Dee ee Ca ee ee Re ee eee ‘assemble it. Since the units are normally made from several sheets of pope, I start by thinking ababt i Co i eS en eg ‘lose attention tothe corners, thinking about how they can be built up. For me, the creative process Ce eee en ene oem a ee ea «reations the hidden structure of geometric shapes becomes immediately apparent, naked and exposed ee aS cc Neee Ma Sr ec eae) Cae a Ea teats ofits underlying shape. When you come into frequent contact wth something, you gradually Ce ec eae ae This holds true for both people and animals. ae Ce Co OC orexomining it from witha, to get on idea of Danae re a Le Premera ere Er eee aya oesMY FIRST ATTEMPTS TN ne te ae a Tavs ean ao meee a of paper, single-coloured and patterned, all in the PPA Re or ec ea Teac ces Euge to edge, crease, Repeat. Turn over the folds, eek ate errr CTaToRe LT ea Peano ROR NaCl sted BI Meum cry Peat eas SE eur acs Pree MC Rt cae the paper. Her hand - the fingers always in motion - is directing, covering, folding, twisting, SO Mees ees Tu Ue CeCe Sees caren RANTS seemingly lost in thought. Just like a guitarist’s hand flies over the strings, plucks, dampens, toys RR esac et aco cred of gravity, a playful seriousness to her work She utters a few words here and there, watches Oram a encanto as the wind, a crane, a box, and a flower emerge from her small hands, Flat paper becomes three- PC RO eons easier Pee ee eae Ne Cet eStats Ce ot eur Pree ee et eae aT isa popular art part of popular culture, much like sports, children’s games or decorative handicraft. »Origami has so many faces, for children, for science, for craftsmanship, for packaging - itis a boundless force. No one can tell how old it really is, maybe Pee era ed »All| know is that my grandparents knew it, my PSCC Cec ate cane Ue asennad practised by everyone. An illness prevented me from learning origami in the kindergarten. One CMe eRe M ane Cae arcu eee nen a piece of paper could take on such an unexpected emu er gee paper, they moved me profoundly, My father went to get me a book on origami and then | learnt it anecies 315NO] SAND) BREACHES There are rules in origami. First and foremost: the square piece of paper may never be cut, glued or written on. No tools - only hands may be used Pea aera en Ty Prec aar acc ek Ge eure ert Tec D era ene eeu cs pre eee eens eet Sere aS e ae g PORE ae te eae rene ere on ret ee enous another, geometry of parallels, diagonals, centre points, step by step, forwards, backwards and nce een eae Bite ca soe Lae) GrUea sh eure Ieee ieee Se eae re decreasing proportions and developed a dynamic Sere Seats age ute OR ee eS nee ae teeing Cee ea ns pe oue ee ane Presa cecal eu CRS Perreau Rt alam not a mathematician and found these steps in the process of folding and observing my work Sete a oun et ca DUOC MSOC ace Bec cma nee ue es step. |, in contrast, start with an image in my hhead and start folding, | have been doing origami for so long, it seems to be in me, in my fingers. Rance ian aThe magic of origami lies in its possibilities, the Con iee Mee Gia accs ee Sere cr painting an image in your head and then you're EMc Ree cem eM a en) Roles al seu RUS en OmCeeasen SRT UR Sess can ee er a folds ite