2
4
Origami inspires people to innovate, make friends, and have fun. 相信摺紙將帶給您創意、朋友和樂趣
5
6
目錄
序文
008
奇美集團創辦人暨奇美文化基金會董事長序 許文龍
010
奇美博物館館長序 廖錦祥
展覽綜述
013
紙上奇蹟—摺紙藝術與科學 文／伯納德．佩頓、嬴嬴
謝辭
036
文／伯納德．佩頓
參展藝術家及作品介紹
039 143 225
- 再
現
- 幾
何
- 應
用
7
8
Contents
Preface
008 010
Preface by Wen Long SHI, Founder of Chi Mei Group and Chairman of Chimei Culture Foundation Preface by Ching Siang LIAO, Director of Chimei Museum Foundation
Curatorial Essay
013
Origami Universe：an exhibition of art and innovation through folding by Bernie Peyton and Uyen Nguyen
Special Thanks
036
by Bernie Peyton
Artists and Works
039 143 225
-
REPRESENTATIONAL
-
GEOMETRICS
-
APPLICATIONS
9
10
展覽綜述 Curatorial Essay
11
｜展 覽 綜 述｜ 紙 上 奇 蹟 — 摺 紙 藝 術 與 科 學
奇美博物館展覽現場入口
12
紙上奇蹟 — 摺紙藝術與科學 文 / 伯納德 ･ 佩頓、嬴嬴 ( 策展人 )
大家聽到「摺紙」這個詞，可能會聯想到日本傳統 的摺紙工藝。日語的「摺紙」是「origami」，「ori」 代表「摺疊」，「gami」是「紙」的意思。摺紙藝 術起源於中國，因多次的征戰而傳播到世界各地； 甚至在達文西 (Leonardo DaVinci) 的《大西洋古抄本》 (Codex Atlanticus) 裡也繪有許多摺疊的幾何形狀圖 示，其中包括近似現代紙飛機的圖樣。相傳摺紙是 由佛教道鏡和尚在西元 7 世紀時帶進日本，之後蓬 勃發展，成為日本文化中重要的一環。以前摺紙多 用來製作禮物或用於祭祀，後來全球幾百萬人把摺 紙當作休閒娛樂。過去幾十年摺紙技術大幅躍進成 為一種令人驚艷的藝術形式，同時也應用在太空研
奇美博物館展覽現場
究、時尚設計、教育、醫療等眾多領域，延伸出許 多令人讚嘆的作品。 此次展覽命名為「紙上奇蹟」，是目前為止全球規 模最大的摺紙展覽。本次展覽共集結了來自 21 個國 家、62 位摺紙藝術家、設計師及科學家，將摺紙藝 術發揮得淋漓盡致。其中作品展示了如何以摺疊技 法改造素材，豐富人類的日常生活。本展共有三個 主題展區：分別是「再現」、「幾何」與「應用」。 第一展區再現的摺紙作品，表現對真實與想像世界 的生命讚頌。無論是呈現人類情感、動物行為或想 像中的生物，這些作品將其所代表的生命特質極為
第二展區的幾何圖形作品，展示一系列的摺紙雕塑， 有些是平面創作，有些是大型的立體創作，風格兼 具抽象與流動性，充滿稜角卻又複雜精細。創作者 積極運用數理概念，透過重複圖形的作品展現大量 的對稱性。展覽中還包括曲線摺、繁複的多面體以 及精緻紋理的作品。 第三展區展示摺紙的綜合應用，包括時裝、家具和 科技設備，以藝術結合科學的方式，共同為太空研 究和醫療注入創新活水。摺紙起初是用來裝飾和娛 樂，現在成為促進人類生活的應用產品。
傳神地表達出來。其中部分作品僅用幾條摺痕便呈 現出人物的神韻，有些作品運用數百次摺疊技法， 摺出昆蟲複雜的細節。 13
再現展區 奇美博物館展覽現場
這項軟體所依據的數學理論稱為「圓形填充式布局」
求的不是寫實，而是創造虛構世界的生物。藝術家
(Circle Packing)，意即動物的每個肢節在紙上以部分
會將經典故事注入想像，以摺紙方式進行創作。許
圓形或全圓形代表，圓的尺寸和位置則展現了每個
多摺紙作品取材自神話、民間傳說以及著名故事的
肢節的長度和肢節間的關係。
代表人物，也有原創角色，像是葡萄牙建築師 João CHARRUA 的野獸。他表示：「這些角色是我想像中
世界各地的摺紙創作者像羅伯特．朗一樣開始研究
的朋友，對我來說，他們是真實存在於我的幻想世
摺紙技術和設計方法論，力求突破摺紙創作的極限，
界裡。」
激發一場 1990 年代早期稱為「蟲蟲大戰」的非官方 競賽。藝術家試圖做出益發精細的摺紙作品，每一
幾何
次都增加更多肢節，以打敗其他對手。「蟲蟲大戰」
摺紙藝術世界裡的幾何雕塑作品令人目不暇給。這
超越原有摺紙的界限，作品精細又寫實，需要摺疊
些雕塑作品不一定像再現主題區的作品有可辨識的
幾百次才能完成，也因此昆蟲和節肢動物仍然是許
形狀，但卻富含深意：關注其固有結構，而非作品
多藝術家喜愛的創作題材。
呈現的主題。這類摺紙風格的發展較晚，比較像是 其他藝術創作的現代和抽象藝術風格。本區的雕塑
異想曲
作品主題較難辨識，比較像是皮耶特．蒙德里安 (Piet
除了創作我們所在世界的事物，部分摺紙藝術家追
MONDRIAN) 和法蘭克．史特拉 (Frank STELLA) 等現代
16
幾何展區 奇美博物館展覽現場
藝術家的風格。許多作品也蘊含數學原理，例如版
另一種摺紙類型是「組合摺」3 (Modulars)。「組合摺」
畫家莫里茲．柯尼利斯．艾雪 (M. C. ESCHER) 的作品。
使用多張紙摺疊，靠摩擦力將重複組件組合成型； 通常會形成可觀的對稱美，常見的組合有正多面體
儘管幾何雕塑作品的主題與再現主題區的作品相差
和其他相關多面體。
甚遠，但也有許多寫實作品採用與幾何摺紙相同的 技法製成。例如貝絲．強森 (Beth JOHNSON) 和喬爾． 庫柏 (Joel COOPER) 運用「鑲嵌摺」1 (Tessellations) 創 作。「鑲嵌摺」通常在紙面會有圖案重複交錯，形 成重疊紙層，有些鑲嵌摺紙藝術家會將作品設計背 光效果，強調重疊的部分。 有些藝術家完全忽略重疊層，只著重外顯的整體作 品表面，藉由光影效果凸顯三維外觀。這種摺紙類 型屬於「波紋摺」2 (Corrugations)，是瑞伊．夏波 (Ray SCHAMP) 所創的摺紙術語，用以區別「鑲嵌摺」。
幾何展區 奇美博物館展覽現場
17
Geometrics Chimei Museum Temporary Exhibition
While the set of rules governing linear folds is well
Advancements in technology have also greatly shaped
understood, curved folding5 is a relatively new subject of
origami design. The words of Robby KRAFT, "I consider
study. Erik and Martin DEMAINE have widely popularized
my work to be a collaboration with a computer." hold true
curved folding through exhibitions of their sculptures,
for many artists. A number of them have developed their
some of which are part of the permanent collection at the
own software7 to generate crease patterns that result
Museum of Modern Art in New York City. While the Demaines
in precise, calculated forms. For instance, Jun MITANI's
typically fold using concentric circles, other artists fold
geometric modeling software enables him to design forms
sinusoidal waves or use curved folds in conjunction with
with curved surfaces. His software has even been used by
straight folds. Curved folds typically produce forms that are
fashion icon Issey MIYAKE in the design of origami apparel.
very three dimensional, warping and rounding the surface of
While much of Mitani's works specializes in the geometry
the paper.
of curved surfaces, Tomohiro TACHI specializes in origami designs which are rigid-foldable. Rigid-foldable designs can
There is another way to form curved surfaces in paper
be folded from materials other than paper, such as metal
without curved folds. Various artists achieve this through
or wood. All of the deformation happens along the creases,
pleating the paper, where the thicker areas of intersecting
often simulated with hinges, while the facets of the
pleats cause the structure to curl, resulting in beautiful,
structure remain planar, without bending and warping like
organic forms with intricately textured surfaces.
paper. Tachi is well known for his Rigid Origami Simulator ,
6
software he developed to design, model, and generate 30
Applications Chimei Museum Temporary Exhibition
crease patterns for rigid-foldable origami. To demonstrate
come full circle, showing how origami, in turn, has enriched
the rigid-foldability of his designs, he has works which
other fields, both aesthetically and functionally.
are folded from stainless steel. As technology progresses, it continues to enrich the possibilities of designing with
The obvious application of origami is to use it for aesthetic
origami.
purposes. This is seen in enhancing the surfaces of furniture, decorative vessels, and jewelry. Folding and fashion go hand in hand. Pleats in clothing have been
5
Curved folding: Erik DEMAINE, Martin DEMAINE, Christine EDISON, Jun
MITANI, Rebecca GIESEKING, Robert J. LANG , Robby KRAFT 6 Pleating: Christine EDISON, Goran KONJEVOD 7
Computer science: Jun MITANI, Robby KRAFT, Tomohiro TACHI
around for centuries. Shaping flat pieces of fabric to fit dimensional bodies is simiar to transforming flat paper into three dimensional structures. While folds have been a part of fashion since its inception, contemporary designers are bringing origami into the world of haute couture more
APPLICATIONS
directly, giving their apparel and accessories a more
Origami has a unique dialogue between different fields.
geometric silhouette.
The Geometrics section presented how mathematics and computer science have enriched origami designs. Now we
31
Applications Chimei Museum Temporary Exhibition
Origami can also be applied to increase the functionality
We invite you to fold some origami with the help of the
of products in addition to changing their appearance.
Chimei Museum's trained volunteers in the Education
Much of the research conducted on origami for artistic
Center. Look at books about origami from around the world
and explorative purposes has actually led to innovation in
and its ability to teach mathematics. Origami can be a form
fields like space exploration and medicine. Flat foldability is
of art as well as an exploratory tool leading to innovation.
incredibly useful in the packaging industry, or for structures
You can be challenged by it, learn how to solve problems,
that must expand or contract such as solar panels for
and have fun.
satellites. Rigid foldability has also contributed to origami's application to real-world materials. This enables the construction of products that are more durable than their paper prototypes.
Education Center Chimei Museum Temporary Exhibition 32
Education Center Chimei Museum Temporary Exhibition
We wish to thank the Chimei Museum Foundation and its exhibition staff, three anonymous donors, the National
Bernie Peyton (Curator)
Taiwan University, the Taiwanese Origami Association, and the many artists, scientists, and collectors who contributed their work for this exhibition.
Uyen Nguyen (Curator)
33
36
再 現 REPRESENTATIONAL 維克．戈裘里
■
克．喬瑟爾
賴禎祥
■
大衛．布里爾 ■
貝絲．強森
喬爾．庫珀
■
羅伯特．朗
特
■
阮雄強
昆汀．托利佩
■
Victor CŒURJOLY ■
Éric JOISEL
BIERNACKI ■
■
胡敏中
■
Quyet Tien HOÀNG
■
ROBINSON
■
■
阿圖爾．比爾奈基 ■
萩原 元
安赫爾．莫羅隆 ■
■
■
黃進決
■
潔妮莎．蒙
薩迪亞．斯坦伯格
■
■
■
■
■
■
Miri GOLAN
József ZSEBE ■
■
■
Quentin TROLLIP
■
Sébastien LIMET Bernard PEYTON ■
■
Artur
Gen HAGIWARA
Ronald KOH & Boon Choon NG
Robert J. LANG
■
■
Nicolás GAJARDO
Cuong Hùng NGUYEN
Saadya STERNBERG
Gachepapier
■
Tuan Tú NGUYEN
■
Beth JOHNSON
Janessa MUNT
■
Giang DINH
■
Seth FRIEDMAN
G. LaFosse & Richard L. Alexander MOROLLON
艾瑞
約翰．嘉洛亞
Chen Hsiang LAI ■
■
邁可．拉佛斯 & 理查德．亞歷山
■
丹尼爾．羅賓遜
■
■
蜜莉．格蘭
■
尼古拉斯．加哈爾
■
Joel COOPER
David BRILL
■
約瑟夫．杰培
■
賽巴斯汀．里梅特
■
伯納德．佩頓
■
嘉契帕皮爾
■
羅納德．許 & 黃文駿
大
■
阮秀俊
■
瑟斯．費德曼
■
■
丁江
■
Joseph WU
Michael ■
Angel Daniel
■
■
João
CHARRUA
37
Giang DINH
(Vietnam/USA)
丁江（越南／美國） 建築系背景。6 歲時父母買了一本名為《摺紙世界》的書給丁江。在擔任 建築師的同時，30 歲再度接觸年幼時父母所送的摺紙書，從那時起便沉 浸於摺紙世界中。他開始創作自己的原創作品，秉持著「少即是多」的 哲學，在創作主題下捕捉題材的精神而非外觀的複製，風格簡約而優雅， 作品總能帶給人一股寧靜而安定的力量。 When Giang Dinh was 6 years old, his parents bought him a book titled The World of
Origami . While working as an architect, he reconnected with his origami book at age 30 and became immersed in the origami world ever since. He began crafting his own original origami pieces and developed a style that can be simple and expressive, playful yet poignant. Dinh's body of work exhibits the philosophy that less is more, capturing the spirit rather than the shell of the subject with a serene, calming force.
夢者 Dreamer
46
祈禱者 Prayer
夢中之舞 # 1 Dream Dance # 1
47
大號手 Tuba Player 喬瑟爾家族借展 Loaned by the JOISEL Family
58
行走的矮人 Walking Dwarf 喬瑟爾家族借展 展 Loaned by the JOISEL Family
小提琴演奏者 Violin Player 喬瑟爾家族借展 展 Loaned by the JOISEL Family
59
Beth JOHNSON
(USA)
貝絲．強森（美國） 具人類學與環境研究的背景。8 歲接觸摺紙，2010 年 開始自行設計自己的模型。她以其極具表現力的簡約風 格，作為她代表性作品的紋理元素。組構概念強，能精 準地將一個個 3D 幾何圖形幻化成一件件精采作品。她 是少數善於設計再現類作品的女性摺紙藝術家之一。
海馬 Seahorse 2015
魚 Fish 2015
90
水� Jellyfish 2014
Beth Johnson has a background in anthropology and environmental studies. She started origami when she was 8 years old, but only recently began designing her own models in 2010. Johnson is recognized for her expressive minimalist style, and for her explorations of patterns as textural elements in more representational pieces. She has a strong concept of structures, and is able to transform 3D geometric shapes into fascinating creations. She is one of only a small number of female origami artists who specialize in representational designs.
91
Ronald KOH
(Singapore)
羅納德．許（新加坡）
Boon Choon NG
(Malaysia)
黃文駿（馬來西亞） 羅納德一直是摺紙愛好者。童年身處玩具與電視十分稀有的時代，摺紙對他而 言是最好的娛樂。1972 年在觀看羅伯特．哈爾濱 (Robert HARBIN) 所主持的電視 節目並拜讀其著作《摺紙的秘密》後獲得啟發，投入創作細緻且複雜的作品。 2009 年急性中風後，他更將摺紙作為一種輔助治療工具，並與摺紙家黃文駿 (Boon Choon NG) 合作，共創綺麗的摺紙天地。黃文駿 7 歲開始接觸摺紙，20 歲 時學習攝影，從日本大學獲得了科學碩士學位後，曾在幾個不同的行業工作 過。然而，對摺紙與攝影的喜好從未改變。他與羅納德合作，把羅納德所設計 的圖像摺出，極具巧思的設計輔以靈巧的摺紙之手，將萬物生命最純真美好的 樣貌呈現在世人眼前。
94
邊境牧羊犬 Border Collies 設計：羅納德．許（新加坡） Designed : Ronald KOH (Singapore) 摺製：黄文駿（馬來西亞） Folded : Boon Choon NG (Malaysia) 2015 圖片提供 : 黄文駿 Photo provided by Boon Choon
兔與蝶 Rabbits and Butterflies
Koh has been doing origami since his early childhood. Growing up in a time when toys and
設計：羅納德．許（新加坡） Designed : Ronald KOH (Singapore) 摺製：黄文駿（馬來西亞） Folded : Boon Choon NG (Malaysia) 2012, 2015 圖片提供 : 黄文駿 Photo provided by Boon Choon NG
the television series hosted by Robert Harbin and having in 1972 read Harbin's book Secrets
television were scarce, origami was the best form of entertainment for him. After watching
of Origami , he was inspired to take up origami more seriously and began to create delicate yet complicated origami pieces. Koh suffered an acute stroke in 2009 and turned to origami as adjunctive therapy. He also began working with origami artist Boon Choon Ng to produce a beautiful realm of origami. Boon Choon Ng started folding origami when he was 7 years old, and photography at the age of 20. After graduating from a Japanese university with a Master of Science degree, he worked in a few different industries. However, his love for origami and photography never wavered. He now frequently collaborates with Koh, folding out and photographing Ronald's designs. Koh's creative designs and Boon Choon Ng's nimble fingers present the purest, most delightful aspects of life to the world. 95
鬥牛犬 Bulldog
鴨 Duck
蝠鱝 Manta Ray
美人魚 Mermaid
114
暴龍 Trex
海象 Walrus
火雞 Turkey
山羊 Goat
115
Cuong Hùng NGUYEN
(Vietnam)
阮雄強（越南） 5、6 歲時接觸摺紙。受美國約翰．蒙特羅 (John MONTROLL) 著作《史前摺 紙》影響很大。從許多書籍中獲取摺紙相關知識後，逐漸走出自己的原 創風格。喜用家鄉盛產的手工紙，此紙兼具硬挺與柔軟的特性，摺出的 作品十分立體生動，尤其是弧度與角度完美交融，展現了生物靈活的身 形，同時又透出一股頑強的生命力。
Cuong Hùng Nguyen started folding origami when he was around 5 to 6 years old. He learned his first models from American artist John Montroll's book Prehistoric Origami . After learning about origami from many books, he gradually developed his own original style. He likes to use handmade paper made in his hometown, which is both sturdy and pliant. The resulting origami is very three-dimensional and vibrant, especially the perfect blend of arcs and angles that displays the agile forms of animals and exudes strong vitality.
孿生兔 Twin Rabbits 2012/2013 116
鯊魚 Shark
大猩猩 Gorilla
蛇蠍 Scorpio-Snake
117
140
幾 何 GEOMETRICS 亞歷山卓．貝伯 曼英
■
吉澤金
■
湯瑪斯．克雷恩
克莉絲汀．雅蒂森 湯瑪斯．赫爾
■
克雷夫特
■
■
館 知宏
■
■
■
■
Paul JACKSON
■
Robert J. LANG ■
■
保羅．傑克森
三谷 純
■
伊藍．嘉希比
嬴嬴
■
■
瑞貝卡．
■
戈蘭．科荷沃德
羅伯特．朗
■
Thomas CRAIN
Tomoko FUSE
Uyen NGUYEN
■
艾瑞克．德曼英 & 馬丁．德
■
■
羅比．
貝綠亞．洛珀
班傑明．帕克
■
■
依
瑞伊．夏
波莉．薇若蒂
Alessandro BEBER EDISON
布施 知子
亞莉珊卓．拉米歐
卡特蓮娜．路克莎娃 波
■
■
■
■
■
■
Erik and Martin DEMAINE
■
Ilan GARIBI
Goran KONJEVOD Byriah LOPER
Benjamin PARKER
■
■
Rebecca GIESEKING
■
■
Robby KRAFT
■
■
Christine
Thomas HULL
Alessandra LAMIO
Ekaterina LUKASHEVA Ray SCHAMP
■
■
■
Jun MITANI
Tomohiro TACHI
■
■
Polly
VERITY
141
十二邊形四方鑲嵌 # 3 v2 Square Tessellation of Dodecagons # 3 v2 2012 - 2014
144
十二邊形 3/4 Dodecagon 3/4 2012 - 2015
145
Erik DEMAINE
(USA)
艾瑞克．德曼英（美國）
Martin DEMAINE
(USA)
馬丁．德曼英（美國） 艾瑞克 14 歲完成理工學士學位，20 歲獲得博士學位，其論文在計算摺紙領域中 具備開創性，除獲得國家級大獎，也贏得麥克阿瑟獎 (MacArthur Fellowship)。2001 年，以 20 歲天才之姿成為 MIT 麻省理工學院史上最年輕教授，並在計算摺紙研 究中居於領導地位，探索摺紙在建築、機器人技術和分子生物學的應用方式。
在藝術方面，艾瑞克的興趣包含摺紙與玻璃吹製，其父親 馬丁是 MIT 駐村藝術家，父子經常合作，聯手打造曲面摺 痕 (Curved-Crease) 雕塑與其他非傳統的摺紙作品。作品被 紐約現代藝術博物館 (Museum of Modern Art) 與倫威克美術館 (Renwick Gallery) 典藏。 Erik finished his bachelor's degree when he was 14 years old, and his doctorate when he was 20. His thesis was in the field of computational origami. It not only received national awards, but also won him the MacArthur Fellowship. In 2001, he became MIT's youngest professor ever at the age of 20, and was a front-runner in computational origami, exploring the use of origami in architecture, robot technology, and molecular biology. When it comes to art, Erik's interests include origami and glass blowing. His father is a resident artist at MIT. They often work together to create curvedcrease sculptures and other non-traditional origami pieces. His work is in the collections of the New York Museum of Modern Art and the Renwick Gallery. 火之泡影 Fire Bubbles 2014 圖片提供 : 艾瑞克．德曼英 Photo provided by Erik DEMAINE
150
青蛙系列 Frog Series [0271F] 2015
151
Thomas HULL
(USA)
湯瑪斯．赫爾（美國）
目 前 為 美 國 西 新 英 格 蘭 大 學 (Western New England University) 數學系副教授。10 多歲時接觸摺紙，對於摺 紙拆開後的摺痕圖形感到好奇，進入大學後開始深入探 討數理與摺紙的關聯。教導摺紙數理，研究摺疊功能與 形式如何運用於超材料 (Metamaterial) 上。作品以幾何構 圖為主，透過計算數理規則來呈現規律的造型。
尖刺菱形九十面體 Spiked Rhombic Enneacontahedron 2005
波浪 24 摺痕圖 Crease pattern for Wave 24 2011 圖片提供 : 湯瑪斯．赫爾 Photo provided by Thomas HULL
170
波浪 24 Wave 24 2016 設計：羅伯特．朗 摺痕圖樣印刷：瑞伊．夏波 摺製：湯瑪斯．赫爾 Designed : Robert J. LANG Crease pattern printed by Ray SCHAMP Folded : Thomas HULL 2011
Thomas Hull, currently an associate professor in math at Western New England University, started origami in his teenage years. He became fascinated with the lines and shapes of unfolded origami pieces, and began doing research on the connection between math and origami in college. He teaches origami math, and researches origami applications and forms in metamaterials. His work consists mainly of geometric shapes that have regular patterns from mathematical calculations. 171
Jun MITANI
(Japan)
三谷 純（日本） 東京大學工程學博士，現為筑波大學電腦科學系教授，擅長電腦繪圖相 關領域。從小熱愛摺紙 (origami) 與日本傳統禮品包裝 (origata)。所創造的 一系列摺紙作品皆是用自己設計的軟體所開發，作品形狀經過精準計算 而成，開創嶄新的藝術途徑與紙張表現形式。簡潔流動的曲線調和了幾 何圖形的堅硬感，讓作品表露剛柔並濟的風貌。 Jun Mitani has a doctorate in engineering from the University of Tokyo, and is now a computer science professor at the University of Tsukuba, specializing in fields related to computer graphics. From a young age, he had a passion for paper crafting and computer programming. His series of origami models are all made with software he developed himself. The shape of each model is calculated with precision, creating a new artistic path and method of paper expression. Simplistic flowing lines balance out tough geometric shapes, giving his work a style that combines hardness with softness.
扭曲塔 Twisted Tower 2009
202
梨 Pear 2011
相連的攪拌奶油 Connected Whipped Creams 2010
相連的攪拌奶油摺痕圖 Crease pattern for Connected Whipped Creams 2010 圖片提供 : 三谷 純 Photo provided by Jun MITANI
203
Uyen NGUYEN
(USA)
嬴嬴（美國） 主修機械工程學，現職為時尚設計師，擅長組合式摺紙及摺紋風格設計。 她對摺紋精密度十分要求，有時也透過鑲嵌 LED 燈來展現摺紋的陰影； 此外，她與設計師莉亞．芙瑞妮 (Lea FRENI) 合作，結合摺紙原理結構與 服裝織品設計，在時尚品牌 VOGEL 春 / 夏 2016 系列中，推出具繁複摺皺 圖樣的服飾，讓摺紙紋路成為時尚流行元素的一部分，不遺餘力地提升 摺紙藝術的大眾能見度。
光譜（尤里卡 !）摺痕圖 Crease pattern for Spectrum ( Eureka ! ) 2013 圖片提供 : 嬴嬴 Photo provided by Uyen NGUYEN
光譜（玫瑰禮堂）摺痕圖 Crease pattern for Spectrum ( Rose Auditorium ) 2013 圖片提供 : 嬴嬴 Photo provided by Uyen NGUYEN
206
Uyen Nguyen is a mechanical engineer who uses her talents in art and fashion design. She is adept at modular origami and designing crease styles. She strives to create precise crease patterns, sometimes using LED lights to display the shadows made by crease marks. She also collaborated with designer Lea Freni to combine origami structure with fashion design, creating pieces of clothing that feature complex crease marks in the VOGEL 2016 Spring/Summer Collection. The collection turns origami crease patterns into a fashion element, and raises public interest in origami art.
光譜（尤里卡 !） Spectrum ( Eureka ! ) 2013
光譜（玫瑰禮堂） Spectrum ( Rose Auditorium ) 2013
207
222
應 用 APPLICATIONS 楊百翰大學 & 拉里．豪威爾 原子與固態物理學實驗室 兒
■
伊藍．嘉希比
■
■
■
陳鍵鋮 & 馬英夫
湯瑪斯．克雷
■
三宅一生設計工作室
史丹佛大學派卡希實驗室
■
館 知宏
■
■
■
康乃爾大學
汀恩．德．芙依賽 艾德里安．薩克
VOGEL 服飾品牌
Brigham Young University & Larry HOWELL
■
■
■
黃勇
Tom CHAN and Ben MA
■
Cornell University Laboratory of Atomic and Solid State Physics
■
Thomas CRAIN
Studio TACHI
■
■
■
Tine DE RUYSSER
Adrienne SACK VOGEL
■
■
■
Ilan GARIBI
■
Miyake Design
Stanford University Prakash Lab
■
Tomohiro
Yung WONG
223
鑽石手鐲 Diamond Bracelet 2014
246
2 x 4 立方體環 2 x 4 Cubes Ring 2014 圖片提供 : 伊藍．嘉希比 Photo provided by Ilan GARIBI
2 x 28 立方體環 2 x 28 Cubes Gold Bracelet 2015 圖片提供 : 伊藍．嘉希比 Photo provided by Ilan GARIBI
247
Miyake Design Studio
(Japan)
三宅一生設計工作室（日本） 由服裝設計師三宅一生 (Issey MIYAKE) 於 1970 年創立。不斷 創新思維，致力打破一般先入為主的觀念，結合傳統工藝 與最新技術製作服裝，希望經由設計滿足需求，為人們日 常生活帶來喜悅與興奮。 「132 5. ISSEY MIYAKE」是三宅一生及其實驗團隊所開發。它 使用寶特瓶回收再製的布料，事先把想要的立體構圖藉由 電腦數學運算出摺線，熱壓於布料上再經摺疊成型為襯衫、 裙子及連身裙等，穿在身上，經由調整摺痕，自然產生多 種外形變化。這款結合摺紙藝術、數學運算和布料創新的 衣服，對「一塊布」給予了嶄新的定義。
132 5. 連身裙 132 5. Tunic Dress
248
Miyake Design Studio was founded in 1970 by fashion designer Issey Miyake. Always innovating, striving to overturn preconceived notions, combining traditional artistry with the latest technology to create clothing, Miyake Design Studio hopes to meet people's needs with design, bringing them joy and excitement in their daily lives. "132 5. ISSEY MIYAKE" was developed by Issey Miyake and his research team. It uses fabric made from recycled plastic bottles. A computer algorithm calculates the crease patterns of the desired threedimensional model; the pattern is then heat-transferred to the fabric, and folded into shirts, skirts, and dresses, etc. When wearing it, slight adjustments can be made to display a variety of appearances. This clothing line, which combines origami art, mathematical calculations, and innovative fabric, has brought a whole new definition to the term "a piece of fabric".
132 5. 連躍裙 132 5. Tunic Dress
249
Yung WONG
(Hong Kong)
黃勇（香港） 時裝設計師。畢業於英國諾丁漢特倫特大學 (Nottingham Trent University)， 獲 得 時 裝 設 計 學 士 第 一 類 榮 譽 (first class honor)。專注於時裝設計，作品試圖推演各種可能 性界限，男、女時裝設計並重，特別是男裝，具有強烈 的性格和批判性的個人特質。其個人品牌「YUNGWONG」 在理念上意味著「合一」，品牌風格擁有自由、個性化 特色，以及注重細節的獨到設計。 Fashion designer. Yung Wong graduated from the Nottingham Trent University with first class honors in Fashion Design. He focuses on fashion design, testing the limits of possibilities with his work, paying equal attention to men's and women's fashion. His menswear designs, in particular, have strong characteristics and critical individual styles. His personal brand "YUNGWONG" means 'syncretism’. The brand has an unrestrained, individualistic style, and features unique designs with meticulous care for details.
建築至上主義，2014 春夏套裝 2 Suprematism of Architecture, Spring/ Summer 2014 Outfit 2 2013 圖片提供 : 黃勇 Photo provided by Yung Wong
262
建築至上主義，2014 春夏套裝 5 Suprematism of Architecture, Spring/Summer 2014 Outfit 5 2013 圖片提供 : 黃勇 Photo provided by Yung Wong
建築至上主義，2014 春夏套裝 5 Suprematism of Architecture, Spring/Summer 2014 Outfit 5 2013 圖片提供 : 黃勇 Photo provided by Yung Wong
263
271