Citation: Wu, J., Weber, M. (2019). Double-layered Weaving of Infinite Bi-foldable Polyhedral Complexes, Proceedings of Bridges 2019: Mathematical Connections in Art, Music, and Science, Johannes Kepler University, Linz, Austria.
Abstract: We present various weaving constructions, as applied to our previous work on infinite bi-foldable polyhedral complexes. These enable one to build doubly or triply periodic structures that mimic certain origami patterns.
Citation: Wu, J., (2018). Folding Yoshimura Pattern into Large-scale Art Installations. Lang, R., Bolitho, M. & You, Z. (Eds.), Proceedings of the 7th International Meeting on Origami in Science, Mathematics and Education (7OSME), Volume One, pp. 1-14, St. Albans, United Kingdom: Tarquin Publications.
Abstract: recent years, origami art has developed from a traditional paper craft to a contemporary art practice that is capable of intricate and complex expressions. Focusing specifically on the Yoshimura pattern, this article explores its potential for being used at an architectural scale to create spatial expressions that blur the boundaries between a human body, where it dwells, and what it wears. Various form finding, material choices, fabrication tools, assembly details, and installation techniques are experimented upon in order to transform the Yoshimura pattern from scale paper origami to full-scale folded ‘skins’ that allow the human body to move within and through.
Citation: Wu, J., Inchbald, G. (2018). Folding Space Filling Bisymmetric Hendecahedrons for Large Scale Art Installation. Torrence, E., Torrence, B., Séquin, C. & Fenyvesi, K. (Eds.), Proceedings of Bridges 2018: Mathematical Connections in Art, Music, and Science, pp. 483-486, Phoenix, Arizona: Tessellation Publishing.
This article discusses the bisymmetric hendecahedron, a space-filling polyhedron that was used to create a large-scale art installation at the site of the famous North Christian Church by Eero Saarinen in Columbus, Indiana. The article focuses on the geometric construction of the bisymmetric hendecahedron as well as its transformation into a large-scale art installation. The focus is on the artistic design, the material construction, and the assembly techniques.
Abstract: In design history, the concept of ‘skin’ has been used to refer to the outermost tissue that encloses a physical body. So, if the concept of ‘skin’ can be understood as a generator of ideas for interiors that lie in between the flexible spaces around the body and the rigid spaces within the building, what new form and context can an interior skin take in adding to the contemporary interiority? Borrowing from the metaphor of ‘skin’ in fashion, interior design and architecture, Ruga Interior Skin (RIS) explores the ambiguous and conceptual realm connecting the act of wearing, inhabiting and its relationship between body, form, material, and surface-making of a novel interior semi-structural wall and partition. ‘Ruga’ is the Latin word for making wrinkles, creases, pleats, and folds. RIS is inspired by the use of wrinkling and folding to create flexible frameless topological forms that can be suspended in a way that is similar to a piece of cloth or textile. Both flexible and rigid, RIS draws the connection between the body and the interior surface, placing the dichotomy of permanent vs. ephemeral, solid vs. light, and material vs. digital at the center of the concept.
Citation: Wu, J. (2017). Applying Helical Triangle Tessellation in Folded Light Art. In D. Swart, C Séquin. & K. Fenyvesi (Eds.), Proceedings of Bridges 2017: Mathematical Connections in Art, Music, and Science (pp. 383-386), Phoenix, Arizona: Tessellation Publishing
Abstract: This article describes how I created a collection of lamps made of folded sheets of material using helical triangle tessellations, which are also called Nojima patterns. I started by working with a periodic helical triangle pattern to fold a piece of light art that is shaped in a hexagonal column. I continued by modifying the periodic pattern into a semi-periodic design by adding variations so that the tessellation could be folded into a light art that is shaped in a twisted column. I further developed tessellations that consisted of self-similar helical triangles by using a geometric construction method. These self-similar helical triangles form algorithmic spirals. I folded the tessellation design into a work of light art that is shaped in a conical hexagonal form.
There is an increasing interest in interior design theory that focuses on understanding interior spaces as both the specifics of objects and environments within the interior and the subjects who experience them through their bodily presence. If a theory of interiority cannot simply be characterized by reference to qualities such as walls, ceilings and floors in a Cartesian space and by the objects and finishing contained in it, and we wish to engage physical and psychological body-space relationships as well, then what are some new spatial expressions that can affect our perception of space? What is our perception of a space? What does it mean to feel a space? According to Gestalt psychology, when we enter an interior space, what is first and immediately perceived is neither the subjective sensation nor shapes, colors, or objects, but rather, atmosphere. German philosopher, Gernot Böhme, in his seminal work, Atmosphere as The Fundamental Concept of a New Aesthetics, articulated the interrelationship between the subjects and objects in atmospheric space. According to Böhme, atmospheres are neither something object nor something subject. Instead, atmospheres are both object-like, articulating their presence through qualities, and at the same time subject-like, presenting a bodily state of being of subjects in space.
Human skin is the interface between the body and world: it is our outermost organ that protects our physical bodies, it is sensuous to touch and constantly gives us information about our surroundings. In design history the concept of ‘skin’ has been used as a site for rich metaphors referring to the clothing that wraps around the body or the building walls that enclose and protect our body. In fact, ‘second skin’ is often used as a metaphor for clothing or fashion while ‘third skin’ is often used as a metaphor for architectural cladding and surface interiority. An architectural skin, referred to generically as the boundary between indoor and outdoor, has to negotiate with both exterior and interior presences. In contrast, interior skin, mediated by architectural skin, can be understood as a series of layers demarcating various interior enclosures: inside and outside demarcation is erased and dichotomy becomes relevant only to the presence of the body.
Directly borrowing from the metaphor of human skin, this art installation To Feel the Space, is a full scale interactive interior skin that is produced by using folded plastic corrugation boards and digital technologies. It attempts to explore the potential object-like and subject-like expression of interior atmosphere by focusing on the ephemeral status between subject and object and capturing the fleeting moments of body-space experience. Situated within a large public space, for example, an exhibition hall, the form of the interior skin, digitally fabricated from folded plates is not the result of the design generated from a specific program, but the result of parameterizing the dome-like structure to the bodily dimensions and movement. The interior skin, as the object in space, actively engages with the subjects as they walk into the exhibition space. Digital cameras capture the colors palettes from the clothing people wear in space and add the live color information to a database to be live project-mapped onto the interior skin. As the people move closer to and within the interior skin, the additional digital cameras will capture people’s movements in space and allow for the interactive plays between the bodies and the space. When people move outside of the interior skin and the exhibition hall, they will leave their color information behind in the space and therefore the space is present with the traces of bodies even if the bodies are absent in space. As a result, the atmosphere is neither objective nor subjective, but infused with the fleeting interplay between the object and the subject that is felt through the body and met with the eyes.
Acknowledgement: This project is supported by New Frontier of Creativity and Scholarship and Center of Arts and Humanities Institute Fellowship, Indiana University. The author would like to thank Kyle Overton for working on aspects of the interactive technology.
Wu, J. 2016. Zushiki light art: form finding and making through paper folding. In ACM SIGGRAPH 2016 Emerging Technologies (SIGGRAPH ’16). ACM, New York, NY, USA
Paper folding allows for complex and innovative structures formed with simple and low cost tools at the point of assembly. From simple pieces of paper, folded designs can be easily deployed into a three-dimensional volume and can be flattened to a two-dimensional shape for ease of shipping and storage. The goal of this workshop is to demonstrate practical means of using paper folding, the art of origami, in product design in order to seek innovative ways of form finding and making.
Zushiki, or図式, is a Japanese word for plan, scheme, pattern and design. Zushiki Light Art is inspired by modular origami in which multiple sheets of paper are used to create a larger and more complex design. These designs are not possible using single-piece origami techniques. Historically, modular origami first appeared in a Japanese book published in 1743 called Ranma Zushiki. The book shows a modular origami cube called tamatebako, or玉手箱, translated as “magic treasure chest.”
Three unique light art design, Gokakukei, Sakuru, and Sankakei, will be available for participant to make at Studio in SIGGRAPH. Predesign crease patterns will be sent to a laser cutter to be perforated and cut. These laser-cut pieces will be then hand folded connected by small plastic snap buttons and small metal rings. The number of pieces required for each light will be varied from four pieces to twelve pieces. A small battery-powered LED will be used to illuminate each folded design.
Zushiki Light Art is designed using super light-weight, natural material coupled with low impact digital fabrication and making techniques. Each of the Zushiki Light Art presents a minimal carbon footprint and ecological impact. It invites the ephemeral interplay between the light and shadow throughout the night, providing a soft ambience that highlights the intricacy and the mathematical complexity of each piece.
Wu, J. (2016). Boreas: Flat-foldable Parametric Design.Proceedings of the Interior Design Educators Council Annual Meeting, Portland, Oregon
Origami has inspired many designers and engineers to come up with novel ways to fabricate, assemble, store and morph objects and structures that are safe, efficient and energy saving from collapsible medical stents for hearts to airbags for cars. However, coming up with flat foldable and collapsible volumetric design of any arbitrary shape is continuing to be a great challenge to designers. Boreas project attempts to understand how to combine origami principles and parametric design process in form-finding, fabricating and assembling collapsible volume in a case study of folded light art.
The seed for the form genesis of Boreas is an origami Waterbomb module, a flat-foldable origami tessellation whose creation is credited to computer scientist and mathematician Ron Resch. In Boreas, this Waterbomb origami module is transformed by a simple truncating operation and is further digitally manipulated. Through an algorithm based design process this simple module seed is rhythmically repeated in a series of definitions and mathematical functions in the software program Grasshopper so as to create complex assemblies that is flat-foldable and collapsible. By changing the mathematical parameters in the algorithmic structure, a myriad of distortions and transformations are generated in order to study the relationship between form, structure, and global flat-foldability.
A symmetrical design is chosen for final fabrication in this case study. Symmetrical design results in a more simplified fabrication process and an overall reduction of material consumption. 128 three-dimensional modules, of which only eight are unique, are unrolled into two dimensional shapes, modified by adding assembly details, and nested onto large sheets of High-Tec Kozo for digital cutting. This entire digital workflow is accomplished through the very same algorithmic structure that generates the forms, thus streamlining the process from form finding to digital fabrication and assembly. The resulting two dimensional forms are then folded by hand and assembled with small plastic buttons.
Hi-tec Kozo is a type of tear-free Shoji paper, which has a three-layer structure, with eco-friendly polyester film as core and Kozo Washi on both sides. Kozo Washi is a type of renewable material that is made from the inner bark of Kozo, a type of mulberry tree that can be sustainably harvested each year. Unlike conventional paper manufacturing that contributes heavily to water, land, and air pollution, the manufacturing of Kozo Washi borrows from traditional hand-made paper processes and techniques and uses very little chemicals. The result is a type of paper that is much stronger and greener than conventional paper.
Boreas is part of the Anemoi Light Art collection. Visually similar to the soft and swaying body structure of the sea anemone (in Greek, Anemoi means “winds” and Anemone means “daughter of the wind”), Borea, doesn’t require any structural support to hold up its volumetric frame. When suspended and illuminated, Boreas sways into ephemeral and gentle patterns of light and shadow, softening their surroundings with pristine, mathematical geometry and rich, natural textures.