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Randabstand zwischen den Textelementen und den Schnitt- und Falzkanten einhalten, damit
keine wichtigen Elemente abgeschnitten werden.
Vollächige Bilder in den Beschnitt ragen lassen, um Blitzer zu vermeiden.
Die Bildauösung sollte 300 dpi betragen.
Darauf achten, dass Schriften eingebettet sind.
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MATTHEW
GARDINER
The Art and Science of Origami and Technology
Works 2015–2017. Volume 1.
1
ORI*
ORI*
The Art and Science of Origami and Technology
Works 2015–2017. Volume 1.
ISBN: 978-0-6484076-0-7
Copyright © 2018 by Matthew Gardiner
Author: Matthew Gardiner
Contributors: Rachel Hanlon, Hideaki Ogawa, Roland
Aigner, Erwin Reitböck, Takayuki Ikegawa, Kyoto
Design Lab, Christopher Lindinger, Horst Hörtner.
All rights reserved. No part of this publication may be
reproduced, distributed, or transmitted in any form or
by any means, including photocopying, recording, or
other electronic or mechanical methods, without the
prior written permission of the publisher, except in the
case of brief quotations embodied in critical reviews
and certain other noncommercial uses permitted by
copyright law.
Matthew Gardiner
c/- Ars Electronica Futurelab
Ars Electronica Strasse 1
Linz 4040. Austria
Project team:
Matthew Gardiner, Artistic Key Researcher
Hideaki Ogawa, Artistic Key Researcher
Roland Aigner, Software Development & Researcher
Rachel Hanlon, Artistic Researcher
Erwin Reitböck, Technical Development & Researcher
With thanks to Horst Hörtner, Christopher Lindinger.
Funded through the FWF PEEK Program.
Program Management: Dr Eugen Banauch
http://matthewgardiner.net/ori/
Printed in Austria
2 3
The initial prototypes set out to practically confirm
two things, artistic intention and fabrication viability.
Intertwined within our adventure into this deep
exploration of material and geometry, was the
underlying question: what is a fold?
The intention to print folds emerged very early on,
the idea of embedding a stiffer material to form
the fold planes into a flexible material as the hinge
surface, afforded strength and scalability above other
techniques.
The question was which method was most effective
for prototyping? What methods could be applied in
artistic production?
In past practice, it was always folded paper: the fold
pattern was laser etched or perforated into paper
and folding it was a matter of following the lines. As
geometries become more complex, more organic and
off-grid with non-parallel fold lines, the task increases
in complexity. The elastic qualities of the paper,
overcoming the buckling resistance in the paper, cause
micro creases in adjacent planes. The corruptibility of
paper diminishes its material ease, and at this point,
the new material prototypes overcome these artistic
and design issues.
The hard/soft materials qualities produced revealed
not only flexibility, but the method of printing by 3D
printer onto textiles also provided zero preparation
other than mounting the textile and pressing print.
The research focus quickly narrowed onto material
selection for 3D printing onto textiles, and calibration
requirements: temperature, pressure, material flow,
number of layers and heights, and post-processing.
Finally, the idea to produce the ultimate ORI*
prototyping tool emerged through the need to create
larger, more complex folding patterns. Niwashi
was conceived (see page 17) as a flat-bed cartesian
robot/3D printer designed fit standard textile rolls.
ORI*proto
4 5
6 7
a) b) c) d) e)
YOSHIMURA MIURA WATERBOMB KRESLING RESCH
A) B) C) D) E)
Folding = force + matter is a way of describing the
physical phenomena of the creation of folds that
allows us to unpack the idea of the materiality of
a fold. Natural Folding Patterns, or Natural ORI*,
are the result of specific forces applied one-way to
specific geometries. It leads us to consider the reversal
of the process. In fact, Natural Folding Patterns are
reversible by application of the same force in the
negative direction. This expansion and contraction of
the structure now follow the force program encoded
into the material. The fold-molecule of each pattern
defines the expansive and contractive function. It can
be thought of as the syntactic unit.
The figure opposite shows the main families.
a. Yoshimura: cylindrical compression
b. Miura: transverse planar compression
c. Waterbomb: conical compression
d. Kresling: rotational-twist-compression of cylinder
e. Resch: torsional compression of the plane
Kresling states that Natural Folding Patterns, like
the Kresling pattern, guarantee a strict minimum of
energy expenditure, when operating and folding with
these mechanisms is stress-free (Kresling, 2008).
As syntactic units, the fold-molecules define the 4D
geometric properties of force and matter optimised
for stress-free movement. Being repeatable patterns,
Natural Folding Patterns are applications of folding
syntax. To further understand the properties of this
syntax, it is useful to break down what is known about
Natural Folding Patterns into discreet properties:
1. Natural Folding Patterns expand and contract
from flat sheet to a specific form. The expansion
and contraction are different for each pattern and
are a compound result of the hinged angles of each
fold-molecule. Understanding the movement and
the formation forces of each Natural Folding Pattern
allows one to study, apply, and discover occurrences
in nature, and create new variations.
2. Natural Folding Patterns are tileable, repeatable,
tessellatable patterns. The patterns can be tiled
according to standard tesselation rules.
3. Natural Folding Patterns can be reduced to a folding
unit. I use the term
fold-molecule. The fold-molecule is the smallest part.
It is the repeatable tile required to make the folding-
units, and is the basic syntax of the oribotic folding
language.
Natural ORI*
98
4. Natural Folding Patterns have geometric variants
such as the adjustment angles, or the extrusion of
fold lines that form flat ridges. These variants cause
irregularities of Natural Folding Patterns that change
the overall shape of the folded form during expansion
and contraction.
5. Natural Folding Pattern fold-molecules are
excellent candidates for application in parametric
computational design to target new geometries for
kinetic structures.
Natural Folding Patterns form the fundamental
syntax of the folding language of nature. These
geometries, the basic folding syntax, are direct from
nature. ORI*Theory is about developing computation
approaches to explore the vocabulary of geometric
forms.
Opposite: Fold Printed Natural Folding Pattern
(Natural ORI*) Miura, Yoshimura, and waterbomb
patterns. Coated with elastomer, the product is called
a Fold Printed Textile Elastomer Composite. Photos:
courtesy Kyoto Design Lab.
10 11
ORI*gh
ORI*gh is a key result towards our objective to enable
design and fabrication of a developable fold pattern
that corresponds to a reference target geometry with
minimum defect while providing artistic freedom.
This work was derived from the inspiration to break
origami out of the grid, to experiment with the limits
of applying natural-ori to a user-designed input. For
example, a user wishes to design a curved folding
surface that fits an architectural dome, the dome is the
input surface, and ORI*gh can be used to calculate a
foldable pattern to form this shape. ORI*gh allows the
user to define the input shape, the resolution of folds
to compose the shape and to select a folding pattern.
The results are irregular, organically composed
geometries that fold into a target form. The irregular
patterns are distortions of the regular Natural Folding
Patterns.
The illustration on the opposite page shows a
waterbomb molecule, the smallest pattern that can
be tiled to create a waterbomb surface. The folded
pattern is simplified and constrained to a low-
resolution 3D (X, Y, Z) grid, and an array of faces
(f) is generated as a set of vertex coordinates in the
format [x y z]. It is critical that the direction of the
point order is consistent, counter or clockwise in the
array. The direction determines the face normal, and
the orientation is carried through the computation.
The illustrations on the next page spread showing
how the pattern is mapped between surface A and
surface B by sub-dividing the surfaces with a grid.
The coordinate pattern is then mapped onto the
surface forming a 3D origami pattern that matches
the target surface. The remaining problem is that the
origami pattern is not foldable, because generally the
geometry is not developable and therefore cannot be
flattened.
The ORI*solver accepts the unfoldable surface
and tries, through use of an algorithm to make it
developable. The developability-by-deformation
process is known in computer science, and so the
ORI*solver implements a system that accepts an
Origami mesh and optimises according to options,
such as thresholds and weighting factors determined
by the user. If successful, it generates a crease pattern
and outputs edge data with optional mountain,
valley, and border specifiers for potential handling
differences during fabrication.
1312
The ORI*gh system can be simplified into three key
sections: Pattern Input, ORI*gh Solver and Crease
Pattern Generation.
Pattern Input allows the user to define the surfaces and
the U/V divisions, as well as the option to define the
folding pattern type. Outputs from the Pattern Input
allow the user to generate meshes for 3D printing or
exporting to other applications.
ORI*gh Solver has two key components, the
Optimiser and the Optimisation Options. The
Optimizer is the computational engine that accepts
the mesh to solve. The options, such as the degree
of accuracy required for developability, determine
accuracy and computational time. The Optimizer
outputs the foldable mesh, in 3D form, as well as error
information to allow the user to visualise problem
areas in the mesh.
Crease Pattern Generator accepts the 3D mesh to
flatten into a crease pattern, as well as the optional
border, and fold types to render in the output.
Additional processing of the output mesh allows it to
be digitally fabricated. In the case of 3D printing, the
faces of the fold pattern are extruded after subtracting
a set width for the fold.
Above: The basic ORI*gh workflow from left to
right: Pattern Generation, Solver, and Crease Pattern
Generator. Opposite: the process of Fold Mapping.
Overleaf: various folding patterns designed in CAD
for use in generating the fold-molecules for ORI*gh.
Surface A
Surface A
Surface B
Generated Pattern
Grid A
Grid B
14 15
16 17
Fold Printing is a digital fabrication process using
Fuse Deposit Modelling (FDM) to print polymers
onto textiles. The polymer forms semi-rigid plates
separated by the near-perfect hinge of the textile to
create a flexible plate structure. This method was
developed to face the new kind of complexity from
Computational Origami: the highly irregular crease
pattern, and to overcome the difficulties of foldability.
The process was tested with off-the-shelf 3D printers
and extended with heat pressing, and elastomers to
control fold memory. The resulting, Folded Polymer
Textile Elastomer Composites (FPTEC) afford
foldability of high-irregularity crease patterns and can
produce durable advanced origami prototypes.
Our large format Fold Printer, playfully dubbed
NIWASHI from Japanese meaning gardener, was
developed to produce FPTs and FPTEC artefacts
at scale, and to allow more folds per sheet to afford
complex geometries due to increased size sheet. The
design of the printer (cartesian robot), was based on
pick-and-place gantry robots, we built a 125 x 125cm
XY gantry locating a retractable 7.5cm Z-axis, to print
onto 110cm wide textile rolls.
Above: The printhead of NIWASHI 1. Opposite:
The ORI*team (absent Hideaki Ogawa) flanking the
newly finished NIWASHI printer. Overleaf: Matthew
Gardiner carefully monitoring the operation of the
Niwashi at the Ars Electronica Festival. Photo: Tom
Mesic (Ars Electronica).
Fold Printing
18 19
20 21
10:34:40
\@00:00:00
@10:34:40 of a total 27mins 15 seconds
\@00:00:00
@04:48:72 of a total 5mins 8 seconds
531% faster folding time for
Fold Printed Textiles
22 23
FOLDING = CODE FOR MATTER
By way of introduction to our research, we find it most
fortunate to present our preliminary research findings
in Kyoto, Japan, close to the heart of origami. Though
it is not the origins of origami we seek, though paper
as a medium lends itself most pliantly to the act of
folding, instead we seek to understand folding in a
more general, functional and aesthetic way; to study
folding as a structural language. We begin with the
premise that folding is coding for matter, an idea that
seems to emerge from computer science, but points to
the notion that materials themselves do computation,
and folding, or ORI*, is a functional way to sense,
program and transform the code of matter.
In this exhibition, we present a cross-section through
time, tradition and technology. We present the
tradition of folding as beauty and function perfected
in daily life objects from the KIT archive collection,
alongside KIT D-LAB students present findings
practices of folding in present day in Kyoto. Our
folding and technology research reveals new ways to
code matter with folds: as outcomes of a workshop
with Ars Electronica Futurelab researchers Gardiner
and Ogawa that explores the ideas of ORI* as
‘programable’, ‘sense-able’, and ‘transformable’.
A set of tactile 3D printed fabric and elastomer
composites allow us to explore a collection of natural
ORI* patterns, along with prototypes of novel soft
oribots. The combination of origami and robotics in
Matthew Gardiner’s Oribotic blossoms gently breath
in and out to the movements of visitors.
This exhibition is presented as ‘collaboration in
the making’ focused on deepening our mutual
understanding of the language of folding. Our
outcomes are research-based, we employ various
methodologies from design, artistic research, and
technological research.
Catalogue Essay by Matthew Gardiner, Hideaki
Ogawa & Prof. Takayuki Ikegawa
Presented by: KYOTO Design Lab
Kyoto Institute of Technology.
Opposite: outcomes from Matthew Gardiner’s ORI*
workshop with KIT design students. Photos courtesy
Kyoto Design Lab.
ORI*Kyoto
24 25
With the use of a variety of fabrics as a successful
material of choice to use with the Niwashi, it’s a natural
conclusion that for the fashion and millinery worlds,
our discoveries and processes are of great interest and
value. We have been testing its many applications and
uses ourselves, and seek to continually look at ways
we can create a cohesiveness between the software’s
individualised capabilities and that of successfully
producing realistically tangible (wearable) outcomes.
Through the printed fabrics ability to sculpt itself
across the body, the use of it for adding functionally
adaptive embellishments, and decoratively sculptural
elements to garments, was an apt starting point
for exploration. ORI*fox was created as an ethical
and modern choice in the creation of stoles, wraps,
boas, collars and cuffs. The use of fur, in its pinnacle
height of popularity in fashion, was seen as a way to
elevate the wearer, and their accompanying garments,
to the epitome of elegance with its ability to make a
statement with the contrast of textures, movement,
ampleness and shine. ORI*fox has the capabilities to
do just this.
Thanks to the plated hinged folds, Niwashi printed
fabric as ORI*fox has the ability to be altered to suit the
wearers desired look. Fastened together with a choice
of clasps, magnets, ribbons or buttons, different
styling options are achievable through manipulation
and compression of various points along the printed
geometric faces. This particular ORI*fox has been
printed on Offitex felt, a stiffening synthetic garment
felt, which is able to achieve quite dramatic sculptural
results if required and provides an effective contrast
of textures against the opaque shine of the smooth
printed plates.
Opposite: ORI*fox detail front. Above: ORI*fox
detail back.
ORI*lab
26 27
28 29
ORI*fashion
“Fashion has a significant place in modernity
and the everyday, by its link to the unfolding
present. Fashion is the more visible promise
that pervades modernity, since it embodies
both past and future..” ~ Walter Benjamin
The subject of folding through the art of Origami
is, of course, a well-known cultural practice and art
form, with references dating back to early Origami
publications (Hiden Senbazuru Orikata, 1797), from
the 18th Century. Though pre-dating this Origami
publication, textile and napkin folding is earlier
referenced, with the practice of folding textiles for use
in clothing well documented, with research showing
evidence of Plissé folds found in the garments from
Viking burial sites from the 10th Century. Further
examples of intricately folded garments are seen
throughout 16th Century paintings and publications,
including a folding pattern found in the sleeves of
Leonardo da Vinci’s Mona Lisa (Sallas, 2010).
In the present day, led by the avant-garde of Origami
artists, folding has become a multi-disciplinary
concern as engineers, biologists, architects, and
fashion designers study folding techniques for
applications in their respective disciplines. So why have
we made fashion a focal point within our immediate
concerns? There are several worthy considerations
to note, one being that the fashion industry eagerly
absorbs new aesthetics in the form of new materials,
styles and functional practicalities. This, for example,
was seen with the creation in the 1890s of Rayon,
thru to Polyester in the 50s, where clothing took on
new dimensions with the design possibilities synthetic
fabrics presented, one being simply the ability to wash
and wear without ironing. In the present day, digital
textile printing and 3D garment printing have been the
new growing domains that are affording the industry
an avenue for further experimentation.
With fashion always seeking to extend its parameters
within the concerns of functionality and aesthetics,
utilising knowledge gained through the study of folding
they can meet both these concerns. One designer
most notably for this is Issey Miyake, whose oeuvre
exemplifies textile folding in fashion. The BaoBao line
of bags, with its cut rigid plates in a regular origami
3130
tessellation on a textile mesh, and the 132 5 series
with its philosophy of flat objects, wherein folding and
flat shapes are the key sculptural factors that define
the garments. One can see that both of these lines
carry an origami aesthetic. For Miyake, the inspiration
for folding and fashion goes hand in hand, in Miyake’s
own words,‘…if you look back throughout history
from the ancient Egyptians onwards, most cultures
started making clothing from a very basic premise: a
single piece of cloth”, he has taken inspiration from
the same element important in origami, to work with,
as the minimalistic philosophy of origami, a single
sheet of paper.
During prior research and discussions with fashion
and origami experts, we identified limitations in
currently available systems for working with origami
and textiles, one being that they are limited to
specific folding patterns. Concerning fabrication of
complex folding geometries, a significant concern is
multi-fold actuation, in particular within industrial
applications, since many folding patterns require
coordinated simultaneous folding movements to
avoid distortion of the planar plates. In metals and
plastics, these manipulations are either impossible
or require highly skilled artisans. Also, materials such
as metal and plastics are rigid, and cannot be folded
and unfolded, forfeiting any kinetic advantage in
the folded geometry. We also see the potential of
folding mechanisms embedded into textiles serving
as haptic user interfaces. From this perspective,
our research is relevant for research and design in
wearable technologies. With the ability to directly
integrate technology into garments, a whole new era
of possibilities is upon us.
“The combination of human skills with
technology will always be at the root of any
solution to the future of making clothes.” – Issey
Miyake
Fashion designers who have been leading the way
in the dramatic integration of new technologies and
fashion, are Iris Van Herpen, Nervous Systems (Jessica
Rosenkrantz & Jesse Louis-Rosenberg), and Anouk
Wipprecht. Van Herpen’s practice centres on her
collaborations with leading artists and technologists.
New materials and processes are sought within each
collaboration. The aesthetics tend towards complexity
and the layering of folds. Nervous Systems experiment
continually with the algorithmic generation of a
hinged system of rigid plates. Featuring fractalised
Voronoi patterning, increasing the densities of the
mesh around areas of high curvature on the body.
The size of the garments exceed the dimension of
the 3D printer envelopes, and as such it is required
to virtually fold the garments, enabling them to ‘fit’
within the printable area. A Nervous Systems garment
is then able to unfold outside of the printer to its
full size. Wipprecht’s practice essentially embodies
sensors and actuation within the garments, including
computational intelligence with the garment and its
design.
“My fascination has been the space between
cloth and the body, and using a two-dimensional
element to clothe a three-dimensional form.”
-Issey Miyake
With our Niwashi printers ability to print complex
folding geometries as multi-material structures,
which are also highly flexible and can be folded and
unfolded numerous times without significant material
fatigue, designers are now afforded a wide range of
prototyping opportunities within their design process.
We can now look beyond the use of a 2D element
to clothe a 3D form. We can now think in terms of
incorporating 4D possibilities into the mix, being
that the functionality of a garment can now include
structurally rigid areas that can expand and contract
in many ways.
The development of the Niwashi printer coupled with
the ORI*gh software means that designers can now
prototype new designs utilising burgeoning fields of
technological research, which will add new pages to
the shared histories of the relationship between the
art of folding and our use of textiles.
Rachel Hanlon
ORI*lab Artist and Researcher
32 33
With the use of a variety of fabrics as a successful
material of choice to use with the Niwashi, it’s a natural
conclusion that for the fashion and millinery worlds,
our discoveries and processes are of great interest and
value. We have been testing its many applications and
uses ourselves, and seek to continually look at ways
we can create a cohesiveness between the software’s
individualised capabilities and that of successfully
producing realistically tangible (wearable) outcomes.
Through the printed fabrics ability to sculpt itself
across the body, the use of it for adding functionally
adaptive embellishments, and decoratively sculptural
elements to garments, was an apt starting point
for exploration. ORI*fox was created as an ethical
and modern choice in the creation of stoles, wraps,
boas, collars and cuffs. The use of fur, in its pinnacle
height of popularity in fashion, was seen as a way to
elevate the wearer, and their accompanying garments,
to the epitome of elegance with its ability to make a
statement with the contrast of textures, movement,
ampleness and shine. ORI*fox has the capabilities to
do just this.
Thanks to the plated hinged folds, Niwashi printed
fabric as ORI*fox has the ability to be altered to suit the
wearers desired look. Fastened together with a choice
of clasps, magnets, ribbons or buttons, different
styling options are achievable through manipulation
and compression of various points along the printed
geometric faces. This particular ORI*fox has been
printed on Offitex felt, a stiffening synthetic garment
felt, which is able to achieve quite dramatic sculptural
results if required and provides an effective contrast
of textures against the opaque shine of the smooth
printed plates.
Opposite: ORI*fox detail front. Above: ORI*fox
detail back.
ORI*fox
34 35
With the ability to work to the specifications provided
through a 3D scan of the wearers head, the ORI*peak
offers a unique choice for those seeking cutting-edge
directional head-ware. After the scan is completed,
the ORI*gh is used to design the shape and pattern of
best fit, which is then printed with the Niwashi upon
the desired material. Coated with a layer of silicon,
the hat perfectly retains its folded shape whilst being
worn and handled, though as with the Ori*fox, it also
has the possibility of being foldable for ease during
travel. The ORI*peak is a modern version of the
favoured traditional flat cap, popular the world over
by men and woman alike, this incarnation transcends
the limitations of traditional tweed versions.
The inward facing waterbomb-ori peaks focus the
folded geometry around the radial curvature of the
head. The pattern expands and curves bidirectionally,
becoming almost flat across the crown of the head,
and highly clustered towards the peak of the cap.
ORI*vertex
Above: ORI*vertex on exhibit. Photo: Tom Mesic
(Ars Electronica) Opposite: close-up of ORI*vertex.
Overleaf: design variations of ORI*vertex shown
as crease patterns generated from the same input
geometry. Visual analysis of the 3D geometries.
36 37
38 39
ORI*bit was an important discovery. The ORI*bit
contains a conceptual and linguistic elegance, as the
ORI*bit the building block for an ORI*bot, and is
therefore fundamental to ORI* botics. The concept is
that of a folded molecule integrated with the actuator.
The ORI*bit is a single molecule, a physical unit of
information, that when connected in a structural
network, form an ORI*bot.
My principle design for an ORI*bit diaphragm, is a
soft robotic actuator, that mates with the waterbomb
pattern. The mating pattern follows the waterbomb
crease pattern with the addition of additional radial
pleats, the radial pleats form an air pocket that moves
sympathetically with the opening and closing of the
waterbomb mechanism.
Fabrication of an ORI*bit requires an airtight
diaphragm. Airtight status was achieved by coating
with elastomers with the application of a PE film
inside the diaphragm after coating with silicone, and
before closing.
ORI*bit
Opposite: Fold Printed ORI*bit patterns. Above:
ORI*bit fabrication. Left: annotated test samples.
Overleaf: Connected ORI*bits: white open, black
closed. Pressing on the balck ORI*bit causes the
white ORI*bit to open. Releasing the black bit causes
the system to return to its minimum energy state of
black open, white closed.
40 41
42 43
The Folded Geometry of the Universe*
Science currently theorises that approximately 85%
of the universe, known as dark matter, is folded like
an origami sheet. How might we imagine, and sense
something that is not only invisible but can only be
inferred by mathematics?
At the core of my practice, I try to make sense of nature
through the study of folding and technology, and so
this sculpture is a placeholder for my imagination
to contemplate the infinite shape of a continually
expanding universe.
With folding as my metaphor; unfolding is expansion
– time flowing forward – the universe began as all
dimensions folded into one single dimensional bang
and instantly commenced expanding dimensions and
space-time came into being. Every single fold is a new
dimensional space-time entity. They are infinite, an
ever cascading flow of events intricately connected.
Time flowing in reverse is contraction, the reduction
of folds and events, back to nothing.
This sculpture is a static moment, a singular present.
The real artwork takes place inside your imagination.
This sculpture is thus a signal for your imagination to
contemplate the infinity of folds, following the endless
spiral shape geometry infinitely large and infinitely
small, a universe breathing as time oscillates between
being and nothingness, and to see yourself, a small
part, a tiny particle of laser sintered powder.
*(yours may vary) an acknowledgement that this is my
folded universe, feel free to have your own.
Opposite: Folded Geometry of the Universe detail
Below: Folded Geometry of the Universe.
Universe
44
ORI* is an art-science research initiative by artist
Matthew Gardiner, funded by the FWF PEEK Program
and kindly supported by the Ars Electronica Futurelab.
ORI* seeks to explore the natural language of origami
and technology through artistic and scientific research.