HOW MIGHT WE APPLY THE PRINCIPLES OF ORIGAMI
TO CREATE AN INTERACTIVE INSTALLATION?
6.345 FINAL MAJOR PROJECT
TCCS ESSAY
WORD COUNT: 2149
IRIS HARDCASTLE
Origami has always been a passion of mine. I am always folding and fidgeting with paper but have never applied origami to design and seen its endless possibilities.
Origami, the folding of one single sheet of paper to create a figure without cutting or glueing, began in Japan as an art form (Lang, 2011). However, origami is now applied more widely, including origami-based design, with three sub-types applied1, adapted2 and inspired3 (Francis et al., 2014; Morgan et al., 2015). I focused on origami applied and adapted design for this project as I felt these have the most value and potential to promote more innovative solutions.
My brief began by asking:
How might we apply the principles of origami to design?
As the project developed this was narrowed to:
How might we apply the principles of origami to create an interactive installation?
By bringing awareness to origami craftsmanship, I wanted to broaden perspectives on origami, beyond traditional usage. I also wanted to explore repetitive process through modular components and tessellations.
This essay explores how I responded to this design question and the steps taken to reach my final product.
1 Origami-applied design is an area of origami-based design that has more direct links with origami (Francis et al., 2014).
2 Origami-adapted design “adapts products based on origami, away from a direct application while maintaining functionality” (Morgan et al., 2015) and the folds have been adapted to suit the intended use.
3 Origami-inspired design is an area of origami-based design that is more abstract and has fewer links with origami (Francis et al., 2014).
I explored origami practically through a range of material/process experiments and investigated how people interact with origami through creating workshops that allowed me to engage participants in the design process and gather alternative creative perspectives (Milton and Rodgers, 2013). Co-design and focus groups were key parts of the process. Co-design is “an approach to designing with, not for, people... where people with lived experience, communities and professionals work together to improve something they care about” (McKercher, 2020, p.14). I created a focus group where I instructed the participants to fold a unit and come up with creative ways of putting them together.
Sub brief Divergentthinking Divergentthinking Convergentthinking Convergentthinking
Materials / process experiments
Interacting with origami
Where will origami be applied in design?
Ideation and exploring the applications of origami
Finalising concept, holding colloborative workshops and user testing.
As Jackson (2022, p.9) stated, I aimed to “establish folding as a primary design tool” within my project. “All designers fold”, sometimes unconsciously, when creating threedimensional objects, for instance, bending, pleating, gathering and hinging (IBID).
Figure 2 shows my experiments with origami and the endless possibilities it can create.
The experiments had two main subtypes - tessellations and modular origami. Many used crease patterns which are diagrams where all the folds and creases are present on the unfolded sheet of paper (Dureisseix, 2011). Crease patterns were a key part of the final idea.
“Tessellations [are] a mosaic […] covering an infinite geometric plane with repetitive geometric shapes. In origami, it is the name we give geometric origami folded with a single sheet of paper” (Garibi and Schearz, 2018, p.11).
Tessellations are effective in creating a large, complex, repeating pattern from a simple unit. Figure 4 shows the twisted cubes by Ilan Garibi (Garibi and Schearz, 2018). The individual cube unit (see fig 3) can be arranged differently within the crease pattern, with or without spacing. The same cube unit can also make the water-bomb tessellation (see fig 5). Creating a large grid of cubes or the water-bomb tessellation is difficult to mass produce and takes time.
Fig 3. Individual cube unit. Fig 4. 4 by 4 grid of cubes. Fig 5. 10 by 10 grid of the waterbomb tessellation.
Modular origami, sometimes known as unit origami, is “a method of producing various forms by assembling different numbers of prepared units” (Fuse, 1990, p.6). An example of where this has been applied are kusudamas4. They appear to be a complex model to fold but in reality is simple to create (see fig 6) and can make 3, 6, 12, and 36 unit variations (see fig 7). This highlights why modular origami is so effective at simplifying complex structures.
I explored adding light to the Kusudamas. I found different types of paper react differently when light is shined through. For example, tracing paper lets lots of light through, even with many layers like the individual modules in the Kusudamas (see fig 8).
4 The word ‘kusudama’ comes from two Japanese words, kusuri meaning medicine and tama meaning ball, as traditionally kusudamas were created with flowers to hold medicines (PwrOrigami, 2021).
Fig 6. Individual Kusudamas sonobe unit.
Fig 7. 3, 6 and 12 kusudamas variations.
Fig 8. Kusudama with light. One section made from tracing paper and the rest normal paper.
A key theme throughout my experiments with origami was me starting with simple units which I then added to through modular components or tessellated patterns from a single sheet. This is like the building blocks of origami - mountain and valley folds - as these are repeated throughout the model, increasing the complexity of the structure and folding process. The process of repetition in repeating a process or step was a key part of the origami experiments.
Origami has been used to create large structures within the architectural area of design. For instance, it has been used to create biomimetic, transformable, static, responsive, and recycled architectural structures (Megahed, 2017). Fig 9 shows the folded hut by Mathew Malone (Burns, 2008), demonstrating how tessellations have been applied on a large scale to create a liveable tent-like structure.
Origami in the form of crease patterns and flat forms has also been used within fashion: Issey Miyake explored the concept of creating clothes as 3D structures that can be folded flat, for instance, the 132 5 collection (see fig 10) (Montmorency, 2019).
For this project’s sub-brief, I initially applied origami to interactive lighting to bring a space to life, transforming perception of the space. However, the project moved away from lighting towards involving people in a collaborative making process.
Interaction enables “humans [to] create knowledge through the manipulation of an interface” (Pike et al., 2008). I wanted to create lighting allowing users to manipulate it to suit their needs. Interactive lighting has already been used within offices, allowing workers to personalise their desk lighting (Kim et al., 2019). This personalising of a lighting experience is known as “human-centric lighting” (IBID).
Installations often transform how a space might feel. For example, Solid Light Works by Antony McCall shows how light can transform a space’s atmosphere and mood (see fig 11). By using beams of light, he created an interactive light installation.
Through workshops and activities, I explored interaction and linked origami to interaction. The activities included:
1. Asking people to fold a piece of paper and see what they can create.
2. Asking people to fold given a crease pattern and seeing if they can fold it.
During these workshops, I observed and photographed many people folding and interacting with origami (see figs 12 to 27). Many of them had little origami and folding experience, and when asked to fold a square sheet of paper, their outcomes were very simple and used basic techniques. Most of my experiments with origami were complex and used advanced folding techniques, but sometimes simple origami can be as effective, which led me to experiment with combining many simple units to form a larger piece.
When asked to fold from a crease pattern, many participants were unsure where to start so some directions or hints were needed. One said, “everything seems hopeless at the beginning”, but for most it came together in the end, proving an engaging and satisfying process.
Figs 12 - 19. A collection of images showing people folding and interacting with origami.
Figs 20 - 27. A collection of images showing people folding when given a crease pattern.
Initially, I applied the principles of origami to interactive lighting, where the user/viewer becomes or controls part of the light to suit their needs. Figure 28 shows some ideation sketches, with concepts ranging from transforming light to modular lighting.
The main concept I chose to develop was ‘modular light wall tiles,’ as shown in fig 29, featuring a 6 by 6 grid of the waterbomb tessellation. However, producing this tessellation would require both time and high levels of skill, akin to an experienced origami artist. This led to the simplification of this idea.
I simplified the ‘modular light wall tiles’ concept to involve the viewer folding one unit, displayed on a board to allow them to see their unit as part of a bigger picture (see fig 30).
Umberto Eco supports the idea of ‘open work’, where the viewer becomes part of the work or installation, and I wanted to incorporate this into my installation (Eco and Robev, 1989), making the collaborative installation endless. Eco states that Henri Pousseur observed how “the poetics of ‘open’ work encourages ‘acts of conscious freedom’ on the part of the performance and place him at the focal point of a network of limitless interrelations” (Pousseur, 1958 cited in Eco and Robev, 1989). This shows how the installation should encourage participants to engage and immerse themselves in their own way, without any pre-determined expectations or outlines.
Designing and conducting a workshop with level 5 Product Design students was an insightful process, allowing me to test the collaborative installation: Firstly, the ease of the folding process of a cube unit (see fig 31); and secondly, how the units could be creatively assembled.
This allowed me to explore the many ways individual units can be assembled, many of which I had not considered. For example, many participants assembled the units in non-linear ways.
Figs 32 and 33 shows how some participants placed the units on their side and created a curved wall or a strip of units. The participants also suggested I go bigger with the unit’s size and include colour.
Fig 32 and 33. Participants putting units together in creative ways.
Fig 34 and 35. 8 by 8 grid of cubes assembly.
Involving more participants in the testing stages of the frame development was another key part of the process, as shown in figs 36 and 39. Many said it was a “therapeutic” and enjoyable process, but holding the small magnets made it difficult. This led to adding magnet holders to help when placing the magnets on the frame.
Fig 36 - 39. User testing the magnet pieces and frame.
Fig 40 shows ‘Co fold + create’ and how the viewer can fold a unit and add this to the frame to create their own pattern and shapes. The frame was not designed to be the main attraction, instead to facilitate the act of adding the units effortlessly, with the cube units being the centrepieces. the wire grid allows the units to be added to the frame in any way. ‘Co fold + create’ supports the idea of ‘slow thinking’ – where actions are very considerate, aware and conscious (Kahneman, 2012), allowing users to connect their mind to the action.
To conclude, ‘Co fold + create’ incorporates both modular and tessellated origami concepts, whilst involving the viewer as part of a collaborative process. It encourages the viewer to be part of the installation and express themselves creatively but also learn about the folding process of the units and the principles of origami.
To take this idea forward, in P6.6 product launch, I would like to expand on the frame aspect and hold a workshop where participants can fold a unit and add this to the frame. Unit design could also be expanded beyond the cube units.
This project enabled me to explore using workshops as a research and design method and collaborative ways of working. It also allowed me to tackle a project from a different perspective, being materials and process experiments driven rather than problem-driven, which was new to me.
All images are my own (Hardcastle, 2022), unless otherwise stated.
Cover images: Close up shots of a grid of cube units put together.
Fig 1 My process, double diamond (Adapted from: Design Council, 2018).
Fig 2. Overview of all the origami experiments.
Fig 3. Individual cube unit.
Fig 4. 4 by 4 grid of cubes.
Fig 5. 10 by 10 grid of the water-bomb tessellation.
Fig 6. Individual kusudamas sonobe unit.
Fig 7. 3, 6 and 12 kusudamas variations.
Fig 8. Kusudama with light, one section is made out of tracing paper, the rest is normal paper.
Fig 9. Burns, C. (2008). Accordion reCover Shelter by Mathew Malone. [online image] Yanko Design - Modern Industrial Design News. Available at: https://www.yankodesign.com/images/design_ news/2008/08/28/recovershelter.jpg [Accessed 12 February 2023].
Fig 10. Tokyo Weekender (2010) 132 5 Collection by Issey Miyake [online image] Tokyo Weekender. Available at: https://www.tokyoweekender.com/wp-content/uploads/2010/12/1203dd4.jpeg [Accessed 28 February 2023].
Fig 11. Anthony McCall: Solid Light Works. (2018). Anthony McCall: Solid Light Works. [online image] Available at: https://cdn.sanity.io/images/vgvol637/production/8ab040a16fa1e58ba3096315709502c30b4 48f5b-2000x1600.jpg?w=2000 [Accessed 10 Mar. 2023].
Figs 12 - 19. A collection of images showing people folding and interacting with origami.
Figs 20 - 27. A collection of images showing people folding when given a crease pattern.
Fig 28. Ideation sketches.
Fig 29. Modular light wall tiles.
Fig 30. Simplified modular light wall tiles.
Fig 31. Collaborative workshop testing the ease of the folding process.
Fig 32 and 33. Participants putting units together in creative ways.
Fig 34 and 35. 8 by 8 grid of cubes assembly.
Fig 36 - 39. User testing the magnet pieces and frame.
Fig 40. Co Fold + Create final model.
Fig 41. Co Fold + Create image with users.
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