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¡dt A The Origami Tanteidan Digest The objective of the Origami Tanteidan Digest is
Table of contents
most (but not ail) text. The nurñbers indicateá as "Page xx" refer to the page numbers of the original articles in the magázine. While not all content is translated, it should qive you an idea about what the article is about. We hóoe vou will enjoy. Let us know if there is anything'wdcan do to improve or any further commehts. please
(Page 7)Origamiand lts Neighbors
(Page (Page (Page (Page
[email protected]
Translated by Marcio Noguchi
to share the articles on Oriqami Tantáidan magazine and provide an En§'lish summary of
contact our editorial department at: (Page 7) Origami and lts Neighbors #86 - Clemati By Tomoko Fuse I got a phone call from Mamoru Suzuki of "Bird,s Nest Laboratory" ( "Tori-no-su" Laboratory) after a long break. He immediately said. "Long time no talk! Do you still do origami?" "Of course!" I met
Mr. Suzuki when we joined a TV program and became acquainted because of a f riend in common. He collects bird's nests from around the world, making lots of lectures and exhibitions. I told him that I am still not tired of doing origami, and so I will continue doing it.
From the early summer to the autumn in 20j7, because of art festivals, attendance at overseas conventions, photography of work collections to be published in ltaly, I neglected the care of the garden. ln the winter when I got a moment to catch my breath, my chest hurt when I saw the clematis vine. ln the summer, it got intertwined with the violent and vigorous "Karahanasou" hop, and the clematis breath became extinct. The "Karahanasou" hop produces a fruit that looks
exactly like hop. I like that light fruit; but this
place should be for the clematis. lf only I had cut the root of the weed, but I could not do it as I did not have time for that. ln the autumn the visible part of Karahanasou hop died. However, the
clematis vine which seemed to have died was alive. And it also has a firm bud in the winter. Oh, sorry. I apologized. Even so, the vitality of the
wild vines and plants that start regenerating above ground in spring is amazing. Magically spreading a large manile of green, it all disappears. lt is the same with the Kudz (Japanese arrowroot). Vines and leaves, which
rushed up to the utility pole and further entangled
(Page 13) Close-up
(lage l9) From the Bookshelves of the JOAS Library (Page l8) Here We Are, THE ORRRIGAMt TANTETDAñ 36) Orisuzi ( "Fold Creases" ) 37) Origami-Zanmai (This Origami and That) 39) Paper Folders on File
40) Rabbit Ear lnformation
with each other aiming the top, withered and got covered with snow now. Wild plants need to be
separated, as horticultural plants do not grow adequately unless people help them.
I decided to participate in an interior design trade fair called Milano Salone which is held yearly in Milan. Produced by an ltalian designer, they produce things like infinite folding partitions. During this period, galleries around the city are used, and I will exhibit in one of them. lt will be opening in April. While I am looking forward to it, I am struggling to crawl on the floor in this rigorous cold winter and must work quite hard.
(Page 13) Close-up
Rigid Foldability of Singte Vertex
Origami By Tomohiro Tachi Rigid foldability When presented with a CP (crease pattern), consider the problem of the folding sequence to judge whether it can be folded continuously until it reaches a three-dimensional shape. ln this case, the part surrounded by folding lines is limited to "rigid folding" which needs to be kept in the plane. lt is "rigid foldable" and you can move it from a flat state? ln this sense, that it is called "finite rigid foldable" . Here is a problem. Are the patterns drawn in Figure 1 rigidly foldable? Or, are they impossible? There are several variations in terms of thinking process when given such problems. A) "Crease pattern foldability" , in other words, the crease pattern is foldable using your own choices of mountain-valley lines. B) "Rigid foldabitity using all lines" , when it is necessary to fold all the folding lines at the same time but choosing
yourself your mountain-valley lines. C) "rigid folding possibility with mountain valley" , i.e., mountain-valley lines are specified, and foldable using all the lines along that mountain-valley specification. You can think of these three types (Figure 2). ln this article, we will consider rigid foldability of single apex fold rigid foldability of single vertex as type C: "rigid foldability
five lines. Folding in a convex form or concave.
withmountain valley lines"
Furthermore, the above-mentioned mountains and valleys are replaced with concave rigid foldable conditions. The convex shape means that when the spherical surface is cut with origami paper, the area on the surface side of the paper is larger than the area of the hemisphere, contrary to the concave shape
Several researches have been done so far as to
which is smaller than the area of the hemisphere
whether a given crease pattern state of flat folding exists. Completeness of computational
(Fig. 5). Together with the theorem that the origami paper always folds in a convex or
complexity (NP complete) is known for the entire crease pattern consisting of multiple vertices [1]: for each vertex, the Kawasaki Theorem (every
concave shape, the rigid folding condition of a single vertex is completed with these two conditions. Looking at Fig. 3 again, from this point of view, there are patterns that can be folded rigidly, patterns that fold only in convex or concave, and patterns that fold both in convex or concave forms. For example, the pattern that folds both ways (preliminary base and waterbomb base) is shown in Fig. 6. lt is impossible to know which
other angle adds to 180 o ) and Maekawa
Theorem (the difference between the number of mountain folds and the valley folds is 2). On the
other hand, "rigid foldability" does not
necessarily fold flat, so it does not necessarily need to satisfy Kawasaki Theorem or Maekawa Theorem, so not any pattern will be OK. For example, if all lines are mountain, it is obviously not foldable. ln that way, we developed a version of rigid folding conditions at a single vertex, such as Kawasaki Theorem and rigid origami of Maekawa Theorem [2]. Aside from the proof process, the result is simple and easy to understand, so I will be happy in case you can remember it. Determination method
The answers to the problems are as shown in Figure 3. I will present you a method to judge variant C. lt can also be applied as judgment for B by replacing the mountain-valley lines. And, if we eliminate the folding lines, it becomes judgment for A. Theorem, The necessary and suffrcient condition for the origami paper with mountain-valleys in a single apex to be rigidly folded convexly is to satisfy one of the following three conditions: (1) Two mountain folding lines forming 180 " with each other. (2) A vertex including a Y-shaped mountain fold lines (that is, a set of three lines forming an angle of less than 180 'with the next) and another valley fold line. (3) An X-shaped mountain fold line (that is, a set of four fold lines each having two pairs of fold lines each forming 180' )and a vertex including another valley fold line. (1) is self-explanatory because it is a fold line rather than a vertex. Figure 4 shows the basic structure of (2) and the basic structure of (3). The condition for (3) is an interesting case in which it becomes possible to fold rigidly after collecting
way you can fold just by specifying the
mountain-valley creases. lt is important to know whether it folds into convex or concave shape. That is because it is necessary to flatten the paper once to go from the concave state to the
convex state. Some folks might have
experienced folding a three-dimensional origami tessellation and when identifying a mistake to fold concave and convex lines which would not fold properly, they must open the paper completely flat to fix
it.
So, here is my proposal. When drawing
a
three-dimensional crease pattern, let's draw not only the mountain valley of the crease lines but also the mountain valley (ruggedness) of the vertex as necessary. ln Fig. 7, I drew the Resch pattern with unevenness at the vertex. By the way, in case of a pattern that folds flat, according to Maekawa Theorem, the shape will be convex if the number of mountain folds is greater than the number of valley folds and becomes concave if
there
ar
automatically f rom the
mountain-valley directions of the folding lines.
Continuous deformability and existence of folding state The outline of the proof of the judgment method
in the paper [2] is as follows. First, as
a
necessary condition, for origami not including X
or Y shape, a mountain folded absence area occurs in the rang'e of 1BO o or more, and it proves that a vertex having such a property will not fold to a convex shape. Next, as a sufficient condition, (2) prove that the basic structure of (3) is rigidly foldable, which proves recursively that it
remains rigid foldable even when adding any folding lines at will. By the way, for proof of sufficiency, we use very useful properties in single apex folding problem. That is, the existence of a folded state (without self-intersection or contact) is equivalent to the
existence of f olding motion [3]. This is
a
spherical version of "Folding Scale Theorem" [4] that any polygon on a plane can be transformed
continuously into a convex polygon without changing the length of the sides. This is a beautif ul theorem, but it can' t be used with multiple vertex problems. For example, considering the twist folding in Fig. B, there are folding and unfolding states, but there is no continuous deformation there in-between. Difficulty in case of multiple vertices Well, if we can resolve a single apex, I would like to talk about the idea of expansion to a multiple vertex by saying that it is a multiple apex folding paper. As a matter of fact, the single vertex determination method described so far is not
very usefulness for rigid body folding
determination problems with multiple vertices. For example, the twist folding described above is rigidly foldable when looking at one vertex, but, as a whole, it cannot be rigidly folded. To assess the possibility of rigid folding of origami with multiple vertices, it is not only sufficient to know which each folding line becomes mountain or valley, but also which successive values actually takes and follow in detail the changes, making it a much more difficult problem. There are some known facts when we look at how difficult this is "difficult problem" is. Recent research has found "rigid folding with selected folds" a NP hard problem [5]. The problem of
determining mountain valleys to be rigidly
foldable depends on complexity of the combinations. On the other hand, we do not know well enough about the rigid foldability with mountain-valleys. Although this cannot be
replaced with an easy-to-understand
flat state. That explains "why it is difficult to fold origami. Because there are such difficulties in geometry, even if you use a robot instead of a hand, or even if you use "self-folding" materials where the material folds itself by controlled deformation, it cannot be fundamentally solved. There will be difficulties. ln fact, in advanced research of "self-folding" , "failure" caused by this complexity is an tmportant issue. Of course, it is challenging because it is difficult. So why cannot we realize a folding pattern that
can be folded without fail by geometric
processing, whether it is a human being, a robot
or a self-folding? I am doing research on the matter. lf you are puzzled with the difficulty of folds, let' s research together and unravel it! References: [1] M. Bern and B. Hayes. 1996. The complexity
of flat origami. ln Proceedings of the seventh annual ACM-SIAM symposium on Discrete algorithms (SODA '96). Society for lndustriat and Applied Mathematics, 1 75-1 83. Z. Abel, J. Cantarella, E. D. Demaine, D. l2) Eppstein, T. C. Hull, J. S. Ku, R. J. Lang and T. Tachi. 2016. Rigid origami vertices: conditions and forcing sets, Journal of Computational Geometry, 7 (1).
t3l I Streinu and W. Whiteley.2OO4.
Single-vertex origami and spherical expansive
motions. ln Discrete and Computational
Geometry: Japanese Conference, JCDCG 2004, 61-1 73. [4] R. Connelly, D. Demaine and G. Rote. 2003, 1
Straightening Polygonal Arcs and Convexifying Polygonal Cycles, Discrete Computational Geometry 30(2), 205-239. [5] H. Akitaya, E. D. Demaine, T. Horiyama, T. C.
Hull, J. S. Ku and T. Tachi. Rigid Foldability is NP-Hard (manuscript in preparation). List of Figures:
Figure 1. Judge rigid folding (Thick Line: Mountain/Thin Line: Valley)
Figure 2: When the four-fold lines are orthogonal,
combination problem, it may have the same
it is only possible to fold vertically or fold
degree of difficulty as the problem of determining
sideways. Although it is possible to fold rigidly if the folding lines can be selected, it can be said that it is impossible to fold rigidly by using the entire folding line. Figure 3: The answer to the problem. A - when a folding line and mountain-valleys can be chosen,
the existence of a solution of a real number polynomial.
Difficulty in folding Even from the same folding line pattern, if you fold different mountain valleys or apply different rrregularities, you will switch to different folding mode. These modes cannot move back and forth
unless they are returned to a flat state once.
Such a "branching" phenomenon is very easy to return the folded form to a flat position, but it is difficult to select a specific folding mode from the
B - choosing mountain-valleys, C - folding according to mountain-valley folds specified. ln case of convex or concave folding, convexity is indicated as convex: ü / concave: H Figure 4: Basic structure of rigid foldable single .
vertex. (1) Obvious one with two-fold lines
(Page 16) From the Bookshelves of the JOAS Library Book #59: Nick Robinson "A Tribute to David Lister" Article by Koshiro Hatori Kyoshiro Hatori: born in 1972in Tokyo. Master's degree at the University of Tokyo and M.A. at George Washington University. Translator (lT related), Origami artist. Japan Origami Academic
Society board member. Origami related translations include "Genuine Origami" (English
translation), "Dr. Hull's origami mathematics classroom" (Japanese translation) and others. ln this series, we introduce publication items of interest from among the materials in the Japan Origami Academic Society (JOAS) library. You can search the origami library's collection on the Origami Tanteidan website. For details, please visit http://ori gami. gr. jp/Liór ary l.
David Lister was an origami enthusiast /
researcher in the UK who was born in 1930 and died in 2013. He was one of the founders of the
British Origami Society (BOS) and served as Chairman from 1999 to 2002. He was also a lawyer and a person who is indispensable to the establishment and development of BOS.
Also known since 1990 when he retired as a lawyer, he often posted origami history and articles on origami culture to the origami mailing list (Origami-L). Part of that enormous articles was gathered up on the "Lister List" on BOS's website after his death. "A Tribute to David Lister" was published by BOS in 2017 as a memorial to Lister List as well as the
works of Lister. According to Nick Robinson's f oreword, it took three years to select and discard information, which seems to have been conceived after the loss of Lister. This title comes in paperback and hard cover versions. The cover of the paperback version is in color, with the picture of Lister being the center. The hard cover version is made of a fine binding of white foil stamping in the red cover which makes us feel the intention to leave a record of the life of Lister for a long time. The text spreads over 100 pages, including Lister writings about the history of origami, letters and e-mails between various people and memorials from families and friends of Lister, memorial articles of newspaper, origami models folded by Lister, and many color pictures. ln some of the e-mails included, Lister shows off his origami history. According to it, his father taught him traditional origami when he was young (4 or 5 years old, but his son Richard Lister started when he was3 years old!) and continued to fold origami since that time. He wrote a letter to Lillian Oppenheimer who was
hosting the Origami Center in New York at that He introduced several British origami enthusiasts and in 1965 he was the predecessor of BOS launching the Origami Portfolio Society. The establishment of BOS took place in 1967. John Smith says that he made a draft of the BOS's by-laws with Lister in a memorial sentence included in this book. According to Smith, Lister had already started studying the history of origami at this time. This title contains 17 pages of photos. Among
time, when he bought several books.
them,5 pages of Lister's home library
is
introduced. Lister's interests were not only
origami but also in many other ways, such as flags and emblems. His collection contained more than 25,000 volumes stored in three rooms. The enormous collection of books counted 5000 volumes even with origami books alone. Not only
lish and Japanese but also bookshelves packed with origami books written in all
Eng
languages are lined with rows ranging from the ceiling to the floor of the room. Some of them were occupied by letters and hard copies of e-mails.
ln some of the ln-Memoriam messages
contained in this book, it is stated that Lister did not fold paper as much. However, Lister has designed one work: "Four Thirsty Birds" , the diagram by Robinson is included in this book. .1998 This creation was first announced in the OUSA Convention collection, which was titled at
that time: "Four Birds Drinking Water"
According to a letter from Lister to Robinson, when Florence Temko published the diagram of the model in "Origami Boxes" , she used the name "Four Thirsty Birds" which Lister liked.
Surprisingly, there are not many publications based on Lister' s writings. Only three volumes are listed in the book catalog of this book. One of
which, Lister is the single author of the BOS booklet "History of the BOS and paper folding in Britain"
Another book was authored by Robinson in 2OO4'. "The Origami Bible" , also editor of this book. When Robinson asked Lister to write about the history of origami with "less than 5000 words" , a manuscript exceeding 7000 words arrived and it was necessary to edit it to shorten. The original text before that "editing" is included in this book.
The article "A History of Paperfolding" begins with the origins of "folding" and the origin of "paper" , etymology the "oru" in origami, the prospect of the origami of the near future, the history of origami cover over 10 pages. lt is the culmination of Lister's research and it is also the main content of this book. However, it is regrettable that this article and other sentences of Lister cannot be regarded as
academic papers. ln Lister's text, we can find guesses that are not well founded, especially mistyped spelling in Japanese proper nouns. Also, the historical materials and previous studies that were referred to are not clearly stated.
ln particular, there is a lot of speculations, such as the description of the history of origami before the 19th century which seems to be confusing to me. For example, Lister describes the "ochÓ
mechó" from the Heian period, but it is definite regarded to have existed in the Edo period. I feel like going back one thousand years is too much, in my opinion.
However, it is not Lister alone that makes such conjectures. Regarding the history of origami, many remarks based on jumping to hasty conclusions and factual misunderstanding have been published in Japan, Europe, and the United States. Lister can be said to have just put them together, but it can be said that as a result we were left some homework for us to reorganize the history of origami.
Starting from the 20th century, especially when it comes to the history of origami since the 1950s, Lister himself sees himself as informed and interested party, placing a level of trust in the
sentences Ieft by Lister. Also, we are paying attention to the diversification of contemporary origami such as complex origami, unit origami and art origami. Lister says the curved folding of circular paper is
the next development as a prospect of future origami. ln fact, curved folding has developed significantly recently. We must recognize that stating the focus on curve folding back in 2004 was farsighted. List of Pictures:
Page 16, bottom left: Cover of the hardcover version
Page 16, bottom center: David Lister (left) and the editor of this book, Nick Robinson Page 16, bottom right: childhood of Lister .17, Ieft: "One" of Lister's libraries Page Page 17, right: "Four Thirsty Birds" , origami creation by David Lister
(Page 18) Here We Are,
TH
E
ORRRIGAMI TANTE¡DAN This section will explore a wide range of topics related to origami and introduce you to some
little interesting trivia facts. We also accept questions, and additronal information from readers. Please, feel free contact us via email webman@ori gami. gr. j p.
Magic Tricks in the Edo Era and Origami - Part 2 By Jun Maekawa
-
Board member of Japan Origami Academic Society (JOAS). I am planning to
Jun Maekawa
make "konnyaku" jelly with some leftover
"konnyaku" flour. Thank you for the contributors who provided the pictures: Doshisha University Academic lnformation Division, Osaka University General Library. Trivia 1: A book on mathemalical puzzle existed 300 years ago. A person called Tagaya Kanchiusen ln my previous article, I wrote about a novelist,
Mr. Hideaki Sena, who motivated me to investigate the relationship between origami and magicaltechniques, and on Japanese old magic from the origami point of view: "The technique to make cranes from the fire" and "Mai Butcha no Mai" etc. This time, as a sequel, I present the origami (?) technique guidebook documents of the magical technique of the mid Edo period "Kinjin Sanjo Bukuro" (1725 Kanchiusen lzou) [1] and " Zoku Zange Bukuro " (1727 Same) [2]. The author's name " Kanchiusen lzou" is an odd one, but " Kanchiusen" is the ordinal and "lzou" is the name. His birth and death are unknown, and the last name is Tagaya. According to the introduction of Arithmetic lntroductory Book "shoshin Sanpó Haya Denju" (Early Admission Method) [3] by the same author, his real name was Fuwa Senjuro, who was born in Nagoya and lived in Kyoto. ln addition to the above, as a book on magic, "Morokoshi Hiji no Umi" (secular seclusion sea) (1733) [4], which explains the mechanism of the automatic mechanical dolls and similarly "Karakuri Kin Mó Kagamigusa" (1730), and a mathematical game collection "Wako Kuchi Wekurabe" (1727) [5]. He also wrote books such as "Tenmon Sansetsu BikÓ" (Astronomical theory remarks, date unknown) [6] explaining the phases of the moon and the lunar eclipse. lf someone writing books of various fields in this way, you do not have an idea on the main job of the author. Based on an arithmetic book, there is also a document indicating he was a mathematics scholar t7l t8l, or a doctor [9]. But Mr. Koshihisa Yoshida, a science historian, in another book describes " sekiin-shi... Tagaya Sen JirÓ" presumed as a stone master (with a job like seal
engraving master) as the same person as Kanchiusen lzou [9]. Also, in the afterword of
"Tenmon Sansetsu Bikó" (Astronomical theory
remarks) we can. read "O-sekiin Tagaya Kanchiusen" , so this theory seems to be
plausible. The theory of a doctor may be a pun of "lshiya" (Stone master which sounds like the word Doctor). ln addition, it is not unreasonable to consider
"Tenmon Sansetsu Bikó" presupposing geocentric model as it was introduced before the
heliocentric (Copernican) model. At that time there was already an organization called the Shogunate Astronomy, and explained the astronomical phenomenon in the geocentric
model, such as "Ni-gi Abstract" (Kenji
Kobayashi, 1667) based on the missionary Pedro
Gomez s "De sphaera." Because the book was well known, he might have touched such a document. Likewise, instead of thinking about mathematical puzzles and scientific magical arts
by himself, but rather he might have collected and understood those subjects from books, but certainly he was a very versatile individual. But, I digress. The subject of the book we will take up this time is "confession" is also based on fancy and a big lie. As mentioned in the preface, "We have in our house a volume on wizard, but
we regret that we will have to keep the
techniques secret until it is released." ln the first place, it is a rare technique. Rather than modern people who are deceived by the magical names of super powers, perhaps it was a person who had reasonable thinking. Paper magic.
"Chin-jutsu-san-ge-bukuro" is divided into two volumes, shows mysterious phenomena in the first volume, and blindfold in the second one. The techniques that I want to call your attention this time are: "to make a turtle with paper and make it walk" , "cutting a crest in one small sword" "making a monetary statement with a piece of paper" First, a mechanism to make a paper turtle to walk seems to be outrageous. But it will have a huge impact. All you have is to do is to glue live insects under the paper turtle (Figure 1). The origami model of the turtle depicted in the book itself seems to have been cut out, and it is regrettable that it is not an interesting subject for origami research. With regards to tricks with things made of paper that move by themselves, the technique of "Boat Doll Rolls a Boat" is described in the sequel "Zoku Zange-bukuro" Disclosing the trick: "camphor boat" . Attaching camphor (crystals of plant' s essential oil used as insect repellent) on the boat' s stern which creates a gradient due to the surface tension of the melted membrane and it becomes source of power. lt should be a nostalgic and fun toy for the generation above 50 years-old. Also, in "Morokoshi Himegoto Umi" there is a trick called "Make a paper fish move" It consists of sticking a skin on the back of the paper (f ish skin?), create a fish shape, and ,
immersing the paper on a bowl containing hot water. The paper fish moved due to the paper stretched because of the vapor. Alongside to the paper boat, it is based on a scientific trick. lf the magic for the fish and boat is scientific, the problem of the crest is mathematical. And it is deeply related to origami than being a paper workmanship. lt is a pioneering example of "a single cut" problem that Dr. Erik Demaine also noticed. "All polygons can be created by folding the paper in a proper sequence and cutting the paper in a straight Iine ". Examples are "igeta" and "ógi" listed in "Chin-jutsu-san-ge-bukuro" . The f ormer is simple but very vivid (Figure 2). Similar problems are also posted in "Wataru Kazunori" , which was introduced by Dr. Demaine [10]. Now, "Chin-jutsu-san-ge-bukuro" , more than "Wa Koku Chiekou" , was ahead of its time. Although the trick seems to have been from a long time ago a derivative of a technique of a coat of arms embroidered paintings depicting a crest on a cloth, what we don' t know is whether the puzzle of "folding and cutting with a single straight line" was created by Kanchiusen. And, the "Sen-ikkanmon" technique, in other words lifting a thousand coins (from the old currency) with a sheet of paper demonstrates that folding a sheet of paper in half with a cross section in an L-shape, it makes it stronger than expected. Perhaps we can say it is a precursor of "origami engineering" (Figure 3) "Zoku zange-bukuro" also lists the technique "Make a paper butterfly fly" . This is the earliest example of the technique like the "kochó-no-mai" (Butterfly Dance) presented in the previous article. The trick is based on a thread on a paper butterf Iy.
ln Conclusion Various magic tricks from the Edo period and the puzzle itself are interesting. The relationship with
play using paper is also interesting from the perspective of origami history research. But the individual called Tagaya Kanchiusen was intriguing. We are amazed by the "puzzle, mathematics, astronomy, puns" which are a big plus. The afterword of "Wa Koku Chiekou" describes a publication that was planned called "Honchó Shinsen Yó Jutsu" , but it is regrettable that this book cannot be confirmed. References:
[ 1 ] : K a n c'h ú S e n i s a n "Chin-Jutsu-San-Ge-Bukuro" around
17
25,
National Diet Library Digital Collection
[2]: Kanchú Sen i san "Zoku Zange-Bukuro" 1727, Japanese Magical Museum
(
http ://japanmm. exb log. j p)
[3]: Tagaya Kanchiusen "Ubu Sanpó Haya
Denju" 1726, Journal Archive (
htt p //www. wasan. j p/arc
h
:
ive. htm ) I
[4]: Tagaya Kanchiusen 'Morokoshi Himegoto Umi"'1733, National Diet Library Digital Collection [5]: Tagaya Kanchiusen "Wakuni Chie Kou" 1727, Kura: Naoka Shimajima
[6]: Tagaya Kanchiusen "Tenmon San Setsu Bikó year unknown, Tokyo National Museum digital
"
library
[7]: Hayashi Tsurui "Koushi Funabu Mitsubori Taisu Concentrated Nominated Choreographer" 1936, THE TOHOKU MATHEMATICAL JOURNAL
IB]: "The National Person's Name Dictionary" 1996, lwanami Shoten
[9]: Yokoyama Yasuko "The era of youkai magic tricks" 2012, Blue Arches Co. [.10]: Erik Demaine "The Fold-and-Cut Problem" d c ut/ List of Figures: Figure 1. From "Chin-jutsu-san-ge-bukuro" (The
http ://e ri kd em ai n e. or g/f o
I
Magical Branch Bag) (aboul1725, Kanchiusen lzou), "Kami nite kame o tsukuri ayuma suru koto" and its investigation Fi g ure 2: From "Ch n-jutsu-san-ge-bukuro" (The Magical Branch Bag), "lchi kogatana nite mondokoro o kiru koto" answer Figure 3: From "Chin-jutsu-san-ge-bukuro" (The i
Magical Branch Bag), "Sen ikkanmon
o
kamiichimai nite mochi akuru koto" investigation
( "Fold Creases" ) Blogging Records of Origami Models
(Page 36) Orisuzi
motivation.
As mentioned above, the creative activities of my origami are supported by the act of writing blog articles and general articles.
(Page 37) Orig ama-Zanmai (This Origami and That) #89 "Photos and Objects" By Seiji Nishikawa, JOAS board chair Recently, I had the opportunity to see the work of two photographers. One is Naoki Fukuda who is a boxing photographer and has won the Best Photo Award of the National Boxing Association for four times. The other is Naoko Amano, an ecological landscape photographer, known for
being a waterscape creator who creates
beautiful ecological landscapes in aquarium, such as a panel of Sado primitive cedar forest at
Designing By Kango Kariyazono I had been posting about origami activities on
blogs for the past seven years. Writing to a blog is a hobby that has been going on for as long as I had been doing origami, and it has become a major role in my creative activities.
One purpose is to keep a record of my origami model works. When posting your work on the blog, you can loo k back at past works even lf
the work itself is not available anymore.
make blog writing and creative activities fun. Another role is to record our own psychological situation along with the creation of the model. ln my blog, contents other than or¡gami also account for many articles, not related to origami at first glance. Although I seem to have nothing to do with origami, I also like these "creative activities" as part of it. Even though attention is paid to the creation of one origami model, motivation and temporal restraint f rom the outside at that time are greatly related to the selection of the theme and the inspiration of a small idea. Therefore, blogs that can record miscellaneous articles in chronological order along with origami are very useful when looking back on creative activities. lt is often useful for breaking periods of depression and to restore
I
especially introduce not only the completed work
and its production process, but provide also
GB Toyako Summit venue. I got acquainted with Mr. Fukuda some time ago,
and lhave an opportunityto give 15 o Cat, as my model looks like his pet. I had another chance to see Mr. Fukuda' s photos. A lot of images of powerful punches hitting the opponent's face, distorted faces, snapshots of moments of sweat splashing. He is known as"the man who predicts
punches". According to the recently published "Dear Mr. Naoki Fukuda: The truth of the world's best boxing photographer" (By Takashi Bito,
Torikage-sha Publishing), he had known
write about silly prototypes, failed models, ideas with no practical use or stories about the model. By taking the form of a blog, a time difference arises between consciousness that "the work is
a long time. A boxing geek since junior high school, he was a writer (not a photographer at the time) of 'Boxing Magazine" long before going
taken after folding the work and writing
to America. On the other hand, I visited the Amano exhibition
published on the lnternet" and photographs
introductory notes. Models that I did not notice until then, would give us a new perspective to capture the possibilities. AIso, the petty ideas and models recorded in blogs long ago play a role in different models later. Such experiences
Takayuki Kagawa, an actor who likes boxing for
at the neighborhood (Tokyo Dome City). Amano
's aquarium photos and ecological landscape photographs were taken with a super large f ormat positive film and are extremely high resolution such as to depict each one of the
water grass roots and each leaf of the trees of
the Amazon. Ms. Amano, who originally pioneered the new category called "water
landscape creator" who creates landscapes in the aquarium and exhibits the live sized original landscape. Motivated to better understand the world, she pursued photography that will convey beauty.
They are very different type of work, but the fact
that they share in common the photography based on scholarship and passion. Looking at the works of those two artists make me think of
what surrounds origami as professional photography - The difference of origami pictures like the photos taken by someone who understands and loves
it.
(Page 39) Paper Folders on F¡le File #71- Hajime Kikuta lnterviewed by the editorial team Hajime Kikuta. Engaged in job in the cancer field at a foreign pharmaceutical company, enjoys origami with his kids. ln the workplace, on business trips, as a communication tool in the business scene. lWhat motivated you to start origami? Ol started to learn piano at the age of 3, began to fold origami models based on the advice of
folded: Kamiya, Maekawa, Kawahata, Komatsu, and Hagiwara. I like the process of following the creator's thought process for each model, so feel like my favorite models and creators change from time to time. Komatsu works exquisitely express origami appearance and realism in simple form. Hagiwara works make beautiful and origami cute and model beauty coexisting in the 22.5 degrees world. I enjoy unique folding process with surprise and discovery of Kawahata works which can also be said to be the highest peak of the present by freely manipulating every technique and idea from box-pleating to "angular" system. Maekawa's "Beetle" and 'Devil" who made the "origami" familiar to everyone as a contemporary origami, they are exceptional models for me. As origami exchanges expanded on the social media, we began to participate in conventions and Tokyo monthly meetings, and opportunities to communicate directly with legendary and new I
generation origami artists have actually
increased. Kawajima modular models that is challenging to assemble which are folded based on a mathematical approach; precise and unique lmai models making use of integer ratio angle
system; and Katsuta works which pours passionate Chickens and so on. Now, each origami models with their creator's personality and character/personality are beloved.
the piano teacher "to train the concentration of the fingertips... completely addicted. Right now, it is: "No Origami, No Life". fAnyone who had been influential to you? Ol became addicted to origami 12 years ago, and since then I had been trying to fold as many models as I can. I enjoyed looking for books and documents on my own and folding, and rarely taught or gave advice to anyone in person. However, since I had exchanged information with various people on the Web, I might say that I was influenced by origami enthusiasts worldwide. iWhen posting in the social media, but what kind of people do you interact with? COn Twitter, I interact with those who I don' t know their real names, age or where they live, and compare origami models and exchange feedback about the models that we folded. On Facebook, llike to see models folded by colleagues f rom work, local acquaintances, students who I am familiar with, and spread the fascination and possibilities of origami. lt is about spreading out the interchange with people who can speak the common language called Origami and activities related to it. lWhat is your f avorite origami model and
paper craft, which I had made 11 pieces so far. Paper craft are made with incisions and raising the paper from a sheet of 44 which pops-up and assembles into a solid volume without glue. lt turns into a motif of a world heritage building, a locomotive, a motorcycle and other vehicles. lt feels like folding from a crease pattern, with the origami brain circuit circuits activated. lWhat is your job specialization? Ol am engaged in cancer treatment at a foreign pharmaceutical company. My job involves coordinating newly developed nursing care products so that they can be properly used at hospitals and they can be used for the treatment of as many patients as possible. "ORlGAMl" is indispensable in terms of work, in-house, in
author?
Photo (Right)
OSpeaking from the numbers of models that
I
lAnything that you had been fascinated recently? (lt can be non- origami related)
OI am totally addicted to Kawahata's 44 sheet
exchanging with foreign countries, and
in
communication with many patients. Photos:
Photo (Left) - Wasp by Satoshi Kamiya. Folded using 26cm square, from a crease pattern
-
Fumiaki Kawahata
Meguro500 paper craft by
flexible but starting and finishing precisely"
is
somewhat cool. Photos:
Photo (Top)
-
Paper and Book vending by
Michael LaFosse
Photo (Bottom) - From the right: Jason Ku (assisting with the organization), Tom Hull and Seth Friedman (special guests)
Origam¡ painting by Mr. Shinichi Asano (See color page P.241 By Jun Maekawa (Page 40) Rabbit Ear lnformation OrigaMIT Convention Report November 11th, 2017 By Tateishi Koichi
On September 16th, I went to see "Our Form", Mr. Shinichi Asano's solo exhibition, at the 'Gallery Keifu" in Kyoto. About half a year before the solo exhibition, Mr. Asano was planning to draw a painting with origami as a motif and therefore
ln fact, there was another convention in the next weekfollowingf PCOC (Pacific Coast Origami Convention) which I presented in the previous issue. OrigaMlT, is the origami group at MIT (Massachusetts lnstitute of Technology), where I
am staying as a researcher, with Dr. Erik
Demaine and Jason Ku are advisor. I had been participating at their week meetings, howeverl this time I attended the convention that they organized. lt was held at the MIT Student Center,
which was almost completely reserved for the event. Here are a few differences between the OrigaMlT
convention and others f rom Japan and the United States: 1) Only a one-day (Saturday) event.
contacted Makoto Yamaguchi and me for permission to use our origami models.
Mr. Asano is a young oil painter who draws concrete paintings. The main motif of this solo exhibition was casual daily objects, such as a small bottle, a gear, a cork stopper, etc. However, changing the perspective, lovely treasures that comes out of a boy 's pocket. His drawing was extremely realistic. On September 16, I attended the "gallery talk" by
Tetsuo Hayashi, the representational style
painter. Among them, Mr. Asano was talking to be attracted by Giorgio Morandi, ltalian painter who continued to draw desktop still life, and Wilhelm Hammershoi, Danish painter who painted quiet interiors. Both are painters often crowned with words such as tranquility and
2) No class registration (registration). "simply come and enter the class". ln case of overflow, just bring a chair from another classroom. 3) The classroom size varies. Some can accommodate nearly 60 people and others are about 20. 4) There is no opening or closing ceremonies. The event simply starts when it is time. Probably it feels conf using, but that is not the case, since the classes progress in order and without any trouble. Perhaps if it was in Japan, it would not work. I honestly felt that the community sense and mature attitude towards events is
By Origami models, rather than complex elaborate models, he means models that are "Origami-like" . Often when origami is used in a painting they might become a sign of 'Taoyameburi (feminine style of Japanese poetry) (see Japanese painting, color page 24, November 11,2017.) Again, there is something that is a kind of ephemeral. However, I felt something different. Based on the realistic technique we can see for the first time the actual
different. The special guests were Seth Friedman and Tom Hull. Jason Ku was present, and Michael La
of a human that remains. lt also conveys the wonder of origami that flat paper deforms into
Fosse was selling paper and books in his vending, so the classes were simply wonderful. Just a day felt too short for the event. I attended several classes, which as I mentioned earlier, even though there was no capacity, there was no classroom that I could not enter. I taught the Dharma by Makoto Yamaguchi. I was able to finish, even though lhad several "typical" (?) children who had never attended a convention, who we generally do not find in Japan. lt was a convention that made me think that 'being
silence. And so, Mr. Asano got his eyes in Origami models.
appearance of familiar objects, and the presence something.
Because my work was a motif , I bought a small item called 'Forest'where my'Tree'was drawn. Without disclaiming its price, I can say is that
I
can say that it was an amount could afford it despite of not being wealthy. However, it is a pnceless painting thát is now decorates my living room.
NY Origami Tree By Koichi Tateishi It had been already 4 months living in Boston
high artistic value, I was attracted by the beauty of the models. Suppressing excitement that was
s¡nce November of last year. I am enjoying the atmosphere of the American conventions, which are different from Japan: the PCOC convention, OrigaMlT (MlT origami group). I will certainly participate in New York (OrigamiUSA convention) in June next year. I was wondering about how to spend the long
hard for us who have not mastered the tessellation techniques when choosing the
classes from this luxurious program. Tessellations require a long time for its grid. The
class time tends to be long. No matter what, gridding alone will take half of the lesson time. There are also classes that instructed us to prepare the gridded paper in advance to save time. This convention offered 107 classes with a long break time between the classes. The break time is great not only on network with other participants but are also convenient when the classes that you want to attend are overlapped, allowing people to teach each other, and provides time for review as well as to create grids. I got mixed with the group of tessellation lover' s and with their companion I create the crease lines while chatting. Although I do have a handicap bot in terms of Ianguage as well as level of origami, lreally enjoy the CDO
winter holiday when the end of the term
approached in December. As I was going to New York at the end of December for a different activity, I decided to take the chance to see the origami holiday tree at the American Museum of Natural History, about which I heard about a lot rumors. I entered from the main entrance on the second floor, but as there was clear sign, it took me 45 minutes to locate the Origami Holiday Tree on the back of the fossil exhibition on the 4th floor.
Every year from the beginning of spring, the theme is decided and several of the volunteers of OrigamiUSA support its preparation. This year, "Unfolding the Senses" theme (to unravel the five senses) was represented in the tree with models
convention, and time goes by without any fears. Everyone laughs!
and layout related to human senses such as
On the return trip, my flight got cancelled, changed, delayed, change again, resulting in a lost baggage, and when the suitcase was returned home, it arrived completely drenched. The convention ended with such a ridiculous punch line, however I can say that I want to am
vision, tactile sensation. ln the layout called 'Hot / Cold", the sun and the snow were lined up. Next to it was "Brain Controls"with solid patterns that are likely to cause an illusion in the human brain. Looking closely, they are elaborate in many ways.
going again.
However, such details are amazing, as far as the splendor of the whole image I am without words,
Call for Diagrams for the 24th Origami Tanteidan Convention Collection Book
but lonly say splendid and beautiful. ltruly respect everyone of OrigamiUSA who has kept this tradition for many years. Every year, from the end of November until the beginning of January, the Origami Holiday Tree is exhibited in a terrace room called Astor Turret on the fourth floor. Those who have a chance to go to New York around that time, please check it out! Though, keep in mind that it will be cold (ln
This is a call for submissions of díagrams of models to be printed during the Summer Convention Annual Collection. Please send diagrams of the models that you are proud of.
O ft¡gibility: No eligibility restrictions. Amateur/Professionals, no age restrictions. Not
required to be a subscriber of Tanteidan magazine or a member of the Japan Origami Academic Society (JOAS). For the contributors (depending on the number of pages of your diagram) will receive a complimentary copy of the "24th Origami Tanteidan Convention Annual Collection Book" , independent of the number of
New York).
35th CDO Convention 7-10 December 2017 By Chiyo Kawai I participated at the CDO convention (Centro Diffusione Origami ltalian Origami Association). The venue was in Tirenia, a resort area about 30 minutes by car from Pisa, famous for its leaning tower. Located 5 minutes' walk from the coast, the view from the hotel was supposed to be beautiful, and during the exhibition we see lead color clouds welcomed the participants by the
sea breeze and the white waves pushing
diagrams selected.
O Condition for submission: limited
to
unpublished models of new creations or variations (in which case the name and
permission of the original creator should be provided). Manuscript should be based on digitalform. O How to download the diagram manuscript manual: The manual will be available under the "Convention special page"on the Origami
in
continuously. One of the characteristics of CDO conventions is the number of tessellation courses. This time, the
special guest Robin Scholz, llan Garibi, Alessandro Beber and others tessellation
Tanteidan
creators were named as lecturers. I admire the
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