Origami design for real world

ORIGAMI DESIGN FOR THE REAL WORLD

Fig 1 Hardcastle, I. Twisty cubes with text, 2022

PD 5.3 Critical & Contextual Studies Word count: 3501 Module Tutor: Joanna Leah Iris Hardcastle

Contents Contents 3 List of illustrations 4 Manifesto development 6 Visual manifesto 12 Origami design for the real world 14 A4 positioning paper 25 Bibliography 26

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List of illustrations Fig 1 Hardcastle, I. (2022) Twisty cubes with text.

Fig 2 Hardcastle, I. (2022) Origami mind map.

Fig 3 Hardcastle, I. (2022) Infinity cube made out of paper.

Fig 4 Hardcastle, I. (2022) Text cut up exercise 1.

Fig 5 Hardcastle, I. (2022) Text cut up exercise 2.

Fig 6 Hardcastle, I. (2022) Paper balloon cubes made out of an extract from an article.

Fig 7 Hardcastle, I. (2022) Infinity cube made out of paper balloon cubes.

Fig 8 Hardcastle, I. (2022) Yoshimoto cube 2.

Fig 9 Hardcastle, I. (2022) Twisty cubes made out of post it notes.

Fig 10 Hardcastle, I. (2022) Twisty cubes in different sizes.

Fig 11 Hardcastle, I. (2022). Twisty cubes with letter cut out.

Fig 12 Hardcastle, I. (2022) Twisty cubes with matt vinyl letter.

Fig 13 Hardcastle, I. (2022) Twisty cubes with glossy vinyl letter.

Fig 14 Hardcastle, I. (2022) Twisty cubes with applied, adapted and inspired made out of neon sticky notes.

Fig 15 Hardcastle, I. (2022) Twisty cubes with applied, adapted and inspired made out of white paper.

Fig 16 Hardcastle, I. (2022) Twisty cubes size experimentation.

Fig 17 Hardcastle, I. (2022) Twisty cubes with design, origami and applied.

Fig 18 Hardcastle, I. (2022) Stills from manifesto video.

Fig 19 Lexus.uk (2021) Ryujin 3.5 designed by Satoshi Kamiya folded by Boice Wong [online image] Available at: https://mag.lexus.co.uk/wp-content/uploads/sites/3/2021/01/IMG_6579.jpg [Accessed 2 Mar. 2022].

Fig 20 Hardcastle, I. (2022) Origami model of a crane and kusudama made out of paper.

Fig 21 Morgan, J. and Magleby, S. and Lang, R. and Howell, L. (2015) The original classification of Francis of origami-based design into origami-adapted and origami-inspired design.

Fig 22 Jungbauer, J. (2016). Origami-Inspired Furniture Designs By Aljoud Lootah - IGNANT. [online image] IGNANT. Available at: https://www.ignant.com/2016/01/07/origami-inspired-furniture-designs-by-aljoudlootah/ [Accessed 11 Apr. 2022].

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Fig 23 Hardcastle, I. (2022) Square twist fold crease pattern.

Fig 24 Morgan, J. and Magleby, S. and Lang, R. and Howell, L. (2015). Origami based table.

Fig 25 Francis, K. and Rupert, L. and Lang, R. and Morgan, D. and Magleby, S and Howell, L. (2014). Crease pattern made from isosceles triangles.

Fig 26 Francis, K. and Rupert, L. and Lang, R. and Morgan, D. and Magleby, S and Howell, L. (2014). Origami adapted backpack designed by BYU students.

Fig 27 Edmondson, B. J., Lang, R. J., Magleby, S. P., and Howell, L. L. (2014) The axis shift method.

Fig 28 Edmondson, B. J., Lang, R. J., Magleby, S. P., and Howell, L. L. (2014) The offset panel technique.

Fig 29 Xu, J. (2020) Schematic of the Flexible Hinge.

Fig 30 Xu, J. (2020) Manufactured hinge.

Fig 31 Francis, K. and Rupert, L. and Lang, R. and Morgan, D. and Magleby, S and Howell, L. (2014). From origami source model to adapted design.

Fig 32 DeFigueiredo B P. Pehrson, N, A. and Tolman, K. and Crampton, E. and Magleby, S. and Howell, L. (2019). Prototype of Square Twist Array conceal-and-reveal system.

Fig 33 Burns, C. (2008). Accordion reCover Shelter. Giant Accordion Relief. [online image] Yanko Design - Modern Industrial Design News. Available at: https://www.yankodesign.com/2008/08/29/disastersurvivors-choose-giant-accordian-tm/#:~:text=Designed%20for%20disaster%20relief%2C%20the,is%20 made%20of%20100%25%20polypropylene. [Accessed 5 Apr. 2022].

Fig 34 C ‌ ilento, K. (2009). Folded hut. Bamboo Forest and Corinth Hut / RAA. [online image] ArchDaily.

Available at: https://www.archdaily.com/44225/bamboo-forest-and-corinth-hut-raa [Accessed 11 Apr. 2022].

Fig 35 Forsythe, S and MacAllen, T. (2015). Paper accordion furniture.

Fig 36 Hussey, M. (2014). Origami sofa by Yumi Yoshida [online image] Dezeen. Available at: https://www. dezeen.com/2014/03/09/folding-sofa-uses-origami-to-transform-from-rug-to-two-seater/ [Accessed 25 Apr. 2022].

Fig 37 Palma (2014). Wallable small origami leather wallet [online image] Calame Palma. Available at: https://www.calame-palma.com/wallets-portefeuilles/wallabe-kisim-origami-leather-wallet-brown-blue [Accessed 20 Apr. 2022].

Fig 38 Hardcastle, I. (2022). Origami twisty cubes made out of post it notes.

Fig 39 Hardcastle, I. (2022). Origami twisty cubes with text.

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Manifesto development When thinking about creating a manifesto, I started by looking at a hobby of mine, origami, and how this can be applied to design particularly furniture. I have always been folding little sheets of paper into small forms to fidget and play around with. Since I was younger, I have created small, basic forms such as the paper crane and ninja stars. As I progressed with my origami journey, I expanded this to models with more complexity and in some cases models with modular components, such as the kusudamas.

I love origami models that are more than a representation of an object or animal, for example, pieces with moving or modular components. Origami has been a therapeutic part of my life as I can sit for hours folding sheets of paper and getting lost in a little world of mine. I have never thought of mixing origami with design until now.

I also began researching how origami has been used within design and how it can be expanded upon.

I came across terms such as origami adapted, applied and inspired design and crease patterns which I have not heard about. When looking at examples I began to reflect on the different ways I could explore origami within my own practice and explore ideas for my final major project next year. I could explore how origami can be used within furniture or lighting, as these are areas of product design, I see my career developing after graduation. For me, origami has so much potential and it can be used within many sub-areas of product design, from furniture to lighting to packaging to smaller products.

To start thinking of how origami can be applied to design, I started out with a mind map showing all the different ways in which I thought origami could be applied to design (see fig 2). This was also a good starting point for secondary research as I had already established key terms and ideas. With this I could see how different aspects linked together and what would be a good starting point for the essay.

I then started to create models with transformative components that inspired me to think of the many ways this can be applied to adaptable furniture. For my visual manifesto, I wanted to create some actual origami pieces but they would have something more to them, for example, text or images. I wanted to take inspiration from the secondary sources I read for the text.

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Fig 2 Hardcastle, I. Origami mind map, (2022)

Fig 3 shows the first model that I created was the Infinity Cube (LHack TV, 2017). These origami models were pieces that I have always wanted to attempt to create as the act of transforming the cubes is satisfying to me.

Fig 3 Hardcastle, I. Infinity cube made out of paper, (2022).

The cut up exercise (see figures 4 and 5) introduced me to new and different ways of using text. This allowed me to think of ways I could include text within my visual manifesto but in an artistic way.

Fig 4 Hardcastle, I. Text cut up exercise 1, (2022).

Fig 5 Hardcastle, I. Text cut up exercise 2, (2022).

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Fig 6 shows how I created an origami paper balloon using an extract from a text. This allowed me to explore other ways I could use text within my visual manifestow. I like the way in which the text wraps around the cube and some is hidden.

This made me think of how in small spaces, the furniture is cramped and there is not much space surrounding the furniture. The cubes could be used as a metaphor for small spaces and how furniture is cramped in these kinds of spaces.

Fig 6 Hardcastle, I. Paper balloon cubes made out of an extract from an article, (2022).

The origami paper balloon led me to develop the infinity cubes and use these paper cubes with text extracts, fig 7 shows this development. The original infinity paper cubes work better as you have to blow air into the paper balloons leading to them not being perfect cubes.

Fig 7 Hardcastle, I. Infinity cube made out of paper balloon cubes, (2022).

The Yoshimoto cube number 1, shown in figure 8, is a development of the infinity cubes as it is made out of two pieces and each piece can make a stellated rhombic dodecahedron (Karagamii, 2020). After stumbling across this model on Tik Tok and YouTube, it stood out to me as something I wanted to attempt to make as it is a development of the infinity cube and is more advanced.

Fig 8 Hardcastle, I. Yoshimoto cube 2, (2022).

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The twisty cubes shown in fig 9 was a real starting point for the final manifesto, they can pop up and pop back down. This made me think of transforming furniture as the ease of transition is as easy as popping up and down the cubes. I first created these using post it notes but I also wanted to explore sizes and different colours. My idea for these cubes was to add a letter to each cube and has each stack of cubes would say a word.

Fig 9 Hardcastle, I. Twisty cubes made out of post it notes, (2022).

Fig 10 shows the experimentations with sizes I did as I wanted to explore different sizes and how this would impact the motion and look of the cubes.

Fig 10 Hardcastle, I. Twisty cubes in different sizes, (2022).

When starting to think of adding text to the cubes, my first thought was to add cut out text to the cubes (see fig 11). However, this didn’t work out as I expected as where the fold is placed for it to pop up and down, this is where the cut-out letter is. It also gives the cubes limited stability as a lot of the side has been cut out.

Fig 11 Hardcastle, I. Twisty cubes with letter cut out, (2022).

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I then moved on to finding other ways of adding text to the twisty cubes. My next thought was adding vinyl. Because I have a Circuit machine that can cut vinyl, this was easy to do. I was worried that the vinyl would be too thick and the cubes would not be able to pop up and down as easily as before but this was not the case.

Fig 12 Hardcastle, I. Twisty cubes with matt vinyl letter, (2022).

I experimented with both matt and glossy coloured vinyl (see figures 12 and 13) and I found out that matt worked the best as I was intending on filming the cubes popping in and out, the glossy vinyl would reflect the light.

Fig 13 Hardcastle, I. Twisty cubes with glossy vinyl letter, (2022).

However, the colours of matt vinyl that I have and the bright post it notes did not work as the text would blend into the paper and not stand out (see fig 14). If I had black matt vinyl, this would work better.

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Fig 14 Hardcastle, I. Twisty cubes with applied, adapted and inspired made out of neon sticky notes, (2022).

This led me to experiment with white paper and different colours of matt vinyl which stood out better and were legible (see fig 15). I first chose the words “Origami”, “Adapted”, “Applied” and “Inspired” as these words stood out from secondary research and are the main subtypes of origami-based design (Francis et al., 2014; Morgan et al., 2015). However, using these words standalone did not make much sense so I had to add design to my list of words for the cubes.

Fig 15 Hardcastle, I. Twisty cubes with applied, adapted and inspired made out of white paper, (2022).

The final manifesto includes the words “design”, “origami”, “adapted”, “applied” and “inspired” as this helps to communicate what I want to say in this visual manifesto (see fig 16 and 17). “Design” is the biggest cube as this is the biggest area and theme, the next smallest is “origami” as this is the next smallest area and the smallest cube size have the words “adapted”, “applied” and “inspired” as these are the smallest areas and subtypes of origami.

Fig 16 Hardcastle, I. Twisty cubes size experimentation, (2022).

Fig 17 Hardcastle, I. Twisty cubes with design, origami and applied, (2022).

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Visual manifesto

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Fig 18 Hardcastle, I. (2022) Stills from manifesto video.

Video link: h

https://www.youtube.com/watch?v=QK7w1_HsCWI&authuser=0

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Origami Design for the real world Introduction Originally, origami started in Japan as an art form: folding 1 single sheet of paper to create a figure without cutting or gluing (Hook and Paul, 2013; Hatori, 2011). It can be argued that Origami was rising in both the global East and West at the same time during the 1700s with different techniques and methods, which later merged into what is known as modern-day origami in the 1860s and 70s (Hatori, 2011). Traditionally, origami can be used to create complex and realistic sculptures of natural forms and other structures (Ted, 2008) (see fig 19 and 20), but can also lead to other, wider applications and uses, including solar arrays, temporary shelters, packaging, and many more (Francis et al., 2014).

Fig 20 Hardcastle, I. Origami model of a crane and Fig 19 Lexus,uk. Ryujin 3.5, 2021 kusudamas made out of paper, 2022

So where does this lead in the design world? What can we learn from origami? How can this be applied?

Surely origami has more credit than what we’ve given it. This essay will explore the different uses of origami and how the principles and traditions can be applied to the design world to create transformative, adaptable, and folding products. In doing so, it will evaluate examples, from an origami table to a deployable disaster tent, of how origami is already being used in design and what it may be used for in the future, in aiming to show how origami and the principles of it are important components in the design world, from product design to packaging to architecture.

Theory and technical details When the theory and principles of origami have been applied in the design and engineering world, this is classified as origami-based design. It has 3 main subtypes: origami-applied design, origamiadapted design, and origami-inspired design (Francis et al., 2014; Morgan et al., 2015), as shown in fig 21. Origami applied design has more direct links to traditional origami, whereas origami-inspired design is more abstract and has fewer connections to origami (ibid). Origami adapted design “adapts products based on origami, away from a direct application while maintaining functionality” (Morgan et al., 2015, pp 1-2) and the folds have been adapted to suit the intended use. This shows how there are different interpretations and adaptations of origami-based design and how each approach would result in different outcomes. Some may take inspiration from the crease patterns found in origami and apply and adapt these structures to products, such as an origami-based table (further explained later), whereas others would take inspiration from the form and not necessarily the original crease patterns or folds to produce, for example, the origami-inspired furniture shown in fig 22 by Aljoud Lootah that has very little connection to origami and is more abstract.

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Fig 21 Morgan et al. The original classification of Francis of origami-based design into the origami-adapted and origami-inspired design, 2015.

Fig 22 Jungbauer, J. Origami-Inspired Furniture Designs by Aljoud Lootah, 2016.

Crease patterns, which are the unfolded sheets of paper with all the creases or folds present (Dureisseix, 2011), have been used in origami-based design and these will have been adapted to suit an intended use or end product. For example, fig 23 shows the original crease pattern (Square twist fold), whereas fig 24 shows how this has been adapted to create an origami-based table (Morgan et al., 2016). By starting with the crease pattern, the creator was able to adjust it to suit the materials chosen and the function. In the folded configuration the table is compact and flat, and in the unfolded configuration the table is much taller and can support the weight (Morgan et al., 2016). Doing this resulted in a functional and usable table that was adapted from an origami crease pattern and applies the principles of origami. Having a table that can be flattened down would allow the table to be more portable and allow the table to be stored easily.

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Fig 23 Hardcastle, I. Square twist fold crease pattern, 2022 Fig 24 Morgan et al. Origami based table 2015.

Another example of where a crease pattern has been used and adapted is an origami adapted backpack created by BYU students, shown in Fig 25 and 26. The objective when designing the backpack was to create a design where the form interacts with the user and the bag’s contents (Francis et al., 2014).

Using a triangular crease pattern can provide more freedom of movement than a quadrilateral, whilst triangles are considered to be the strongest shape (ibid). The angles in a triangle cannot be changed which gives it its strength, whereas a rectangle can be squashed into a parallelogram, highlighting how this shape lacks the natural strength of a triangle (Let’s Talk Science, 2020). The use of triangles would also allow it to wrap around the contents and the user more efficiently. Also, the size of the triangles would affect the desired movement, as if they were too large, they would not allow for much movement, and too small would decrease the faceted effect (Francis et al., 2014). Furthermore, triangle size would greatly impact the aesthetics of the bag, as large triangles would make it look too chunky.

The students who designed the bag would have had to balance these aesthetic choices and make sure it still functions as intended. The bag has a minimal design as the triangles are the only aesthetic feature and it is all one colour.

Fig 25 Francis et al. Crease pattern made from isosceles triangles, 2014.

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Fig 26 Francis et al. Origami adapted backpack designed by BYU students, 2014.

When basing a design on a crease pattern, there are several considerations needed, such as rigid foldability, crease characterisation, material properties and dimensions, and manufacturing (Francis et al., 2014).

Rigid foldability is defined as “all panels or facets experience no deformation throughout its motion” (Francis et al., 2014, p5). This means that to get to the folded form from the flat sheet and vice versa, the panels and hinges do not break and there is no damage when it is folded.

Crease characterisation looks at the function of the creases and how these are performed (Francis et al., 2014). For example, if it is a continuous crease (like the backpack shown in fig 7), where it is constantly bending back and forth, the crease or fold would have to be strong enough for this motion to occur.

The third consideration involves material selection, setting and accommodating for thickness. When selecting materials and their thickness, it needs to have the capability of being folded or creased. Also, if the prototypes are made in the selected material and thickness this would prevent influence from the prototyping material and would create a better understanding of the material considerations (Francis et al., 2014). Accommodating for thickness is not typical in traditional origami, as these are often created from a flat sheet of paper where the thickness is close to zero. Some thickness accommodation methods include the axis shift method, symmetric Miura-ori vertex method, mounting trimmed parts onto a surface, replacing creases with a rigid link and offset panel technique (Francis et al., 2014; Morgan et al., 2016). These would all function and look differently but would accommodate for thickness in the crease pattern. The axis shift method, shown in fig 27, maintains the range of motion of an origami source model and allows the panels to fold by shifting the joints (Edmondson et al., 2015).

The offset panel technique, shown in fig 28, preserves the kinematics of the original origami model and allows for a full range of motion (Morgan et al., 2016). It accommodates uniform and varying thickness as well as offsetting the gaps between panels (Edmondson et al., 2015). These considerations for using crease patterns would all determine the type of folds used and how the product is manufactured and assembled. Different thickness accommodation methods would work better and suit the intended use for different purposes.

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Fig 27 Edmondson et al. The axis shift method, 2014. technique, 2014.

Fig 28 Edmondson et al. The offset panel

The types of folds used in the origami-based design are often broken down into 3 main categories: true folds, bends, and surrogate folds (Francis et al., 2014). Surrogate folds are loosely tied to traditional origami and are more abstract. True fold construction closely resembles traditional origami. This could be done through the folding of the sheet material (Francis et al., 2014). Bends are in-between true folds and surrogate folds; however, bends are not similar in function as the material does not hinge about this bend (Francis et al., 2014).

An example of where a surrogate fold has been applied is the flexible hinges shown in Jiaer Xu’s work, which have been made out of layers of plywood, glue, and foam (shown in figs 29 and 30) (Xu, 2020).

This is an example of a surrogate fold as the material has been adapted to suit the design and allow the material to function like a fold (Allen, 2017). However, the foam could tear or break over time if the fold is constantly in use. The flexible hinges could work if it has limited motion and is not folded in and out much. Jiaer Xu would have to evaluate this to assess where this type of hinge would suit the intended use.

Fig 29 Xu, J. Schematic of the Flexible Hinge, 2020.

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Fig 30 Xu, J. Manufactured hinge, 2020.

Another way in which origami adapted design can be derived is an origami source model, which aids the creation of the product (Francis et al., 2014). Adapting these source models can enhance the performance of the existing origami models for the specified application. The crease pattern of these adjusted models serves as the origami source model (ibid). Fig 31 shows the source model, surrogate fold mechanical hinge equivalent made with rigid panels and how this has been adapted for polypropylene (Francis et al., 2014). By using the original source model, the creator was able to adapt this to suit the intended use and material and did not have to worry about the original folds as these were already established. A further example of where this has been applied is shown in fig 32: a prototype of a square twist array conceal-and-reveal system (DeFigueiredo et al., 2019). The source model for this example is shown in fig 23 and has been adapted to suit the intended use and chosen material.

Fig 31 Francis et al. From origami source model to adapted design, 2014.

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Fig 32 DeFigueiredo et al. Prototype of Square Twist Array conceal-and-reveal system, 2019.

How origami can solve real-life problems Origami has the potential to solve real-life problems. This can include homelessness, natural disasters, urbanisation, and a lack of shelter in refugee camps. For instance, across England, Scotland and Wales, 227,000 people were experiencing homelessness, ranging from rough sleeping, sleeping in vans and sheds and being stuck in B&Bs (The Big Issue, 2022). Also, those living in refugee camps face many challenges, which include finding affordable housing, overcrowding and poor sanitary conditions (Department of Education, Multicultural Programs, 2018; Garsow et al., 2021).

Humanitarian innovation is the “means of adaptation and improvement through finding and scaling solutions to problems, in the form of products, processes or wider business models” (Betts and Bloom, 2014 pp 5). This shows how designers need to adapt current disaster relief shelters as these have become outdated and have many issues with them. This can include environmental, economic, technical and socio-cultural issues as the right type of shelter may not be appropriate for that particular circumstance (Bashawr et al., 2015). Waste is a big issue when it comes to disaster relief shelters as changes in climatic conditions have not been thought about in the design process leading to the shelters getting destroyed by the weather, for example (ibid). This would cause environmental issues.

Using origami to help to create deployable shelters is an adaptation and improvement of the existing disaster shelters which would allow the shelters to last longer and be reused more.

Homelessness, natural disasters and urbanisation could be helped through the creation of collapsible shelters that can be popped up when necessary and taken down when not in use, highlighting how the principles of origami, crease patterns, types of folds, and source models could be applied to these scenarios. Also, origami shelters could be designed to be long lasting and withstand the changing natural elements so they can be reused and relocated for other natural disasters (Bashawr et al., 2015).

An example of where this is applied is the Accordion reCover Shelter made from 100% polypropylene (see fig 33), designed by Matthew Malone, Amanda Gold Berg, Jennifer Metcalf, and Grant Mecham (Megahed, 2017). This shelter can house a family of 4 for a month and be set up in minutes and can be taken down into two configurations: a horseshoe shape or flat, for ease of transportation (Burns, 2008). Another benefit of the structure is that the ridges can be used to collect drinking water as the material is non-toxic polypropylene. The shelter shows that origami has the potential to be used on a wide scale, not just the small products shown in previous examples.

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Fig 33 Burns, C. Accordion reCover Shelter, 2008.

Similarly, another example of origami being used in architecture on a larger scale is the folded hut by Ryuichi Aschizawa (see fig 34), a series of temporary wooden buildings for the Aqua Metropolis Osaka Event. “Extending past the small island, a geometric, almost folding, the form provides the perfect setting to take in the panoramic view of the city” (Cilento, 2009). This is an example of how a design can be inspired by origami without the ability to be folded or return to a flat shape or form. Ryuichi Aschizawa took inspiration from how the mountain and valley folds found within traditional origami look, not necessarily how they are constructed or folded. These folded huts could also be used as a deployable structure in cases of natural disasters, shelters for the homeless and the lack of shelter in refugee camps.

Fig 34 Cilento, K. Folded hut, 2009.

Origami can also be used as a solution for furniture in small spaces where space is limited in aiding the development of transformative furniture. People who live in small spaces would often seek furniture that is multipurpose yet adaptable so they can get the most out of their small space (Thøgersen, 2017).

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Furniture is also becoming much bigger and apartments and other spaces are shrinking, so multifunctional furniture would allow for people to still have all the required furniture items, for example, beds, sofas, tables and storage facilities (ibid). Having furniture that can transform when required would enable people to only use what is necessary for them at that moment in time and not have an unnecessary space being used that could have been used for uses. However, the act of transforming the furniture, e.g. from a sofa to a bed, may seem like a good solution but practically it can lead to it being a hassle causing people to stop transforming the furniture (Thøgersen, 2017). So, transformable furniture would need to be designed that the act of transforming them takes the least time and energy possible.

An example of where some of the principles of origami have been applied in this way is the ‘soft collection,’ by Canadian architects Stephanie Forsythe and Todd McAllen (see fig 35) (Wang, 2015).

These are honeycomb-like structures that expand like an accordion to create tables, stools, chairs and storage facilities, for example. They are lightweight and can easily be stored flat (ibid) which is good for use in small spaces as “furniture takes up 40-50 % of the floor space” (Thøgersen, 2017 pp 6-7) in apartments and houses. This example would be classed as an origami-inspired design taken in a more abstract direction.

Fig 35 Forsythe and MacAllen. Paper accordion furniture, 2015.

Another example of where origami has been applied in space-saving transformative furniture is the origami sofa by Yumi Yoshida (see fig 36), which uses a series of upholstered panels that are sandwiched between two layers of fabric with a gap allowing it to fold (Hussey, 2014). It can then be folded into a flat sheet to save space and be used as a rug or a floor mat, which simulates the idea of folding origami from a flat sheet of paper and how a 2D sheet can be transformed into a 3D form. The sofa features two different colours on the sides of the flat mat that also resemble traditional origami, as the paper used in traditional origami is commonly two-toned (Hussey, 2014). The folds used within this sofa are an example of a surrogate fold as the material has been manipulated to mimic origami folds.

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Fig 36 Hussey, M. Origami sofa by Yumi Yoshida, 2014.

Origami can also be used on a much smaller scale for commercial products, for example, the purse shown in fig 37. This is inspired by the traditional Moroccan folding coin purse (Palma, 2014). The purse can be expanded in size to allow for more coins and cards and has a similar folding method to the twisty cubes shown in fig 38 that I have used for my visual manifesto.

Fig 37 Palma. Wallable small origami leather wallet, 2014.

Fig 38 Hardcastle, I. Origami twisty cubes made out of post-it notes, 2022.

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Conclusion Throughout this essay, I have discussed the ways that origami can be applied within design and the theory behind origami-based design and the 3 areas, in which are applied, adapted and inspired. These all have different approaches and outcomes as each area uses the principles of origami in a different way. Another aspect of origami-based design which I have discussed is the folding methods that allow these designs to be origami-like and transform.

This essay has also documented numerous examples of how origami-based design is used within design, engineering and architecture and how it has the potential to be developed even further to create innovative solutions for real-life problems. This stems from the techniques for origami-based design promoting new ways of creating transformative and adaptable products that are not static and do not stay in one form. The ever-changing world shows the need for adjustable and versatile products as in many cases products that only have one use or form do not suit the world that we live in today.

Within my practice as a product designer, I would like to explore how origami and transformative design could be used within my work, particularly in furniture and lighting. Origami could be used within camping equipment and furniture as commonly this is put together using poles and can be tricky to put together. Having folding structures with step-by-step instructions embedded in the furniture would make it easy to be assembled and disassembled. It could also be further used within small spaces to create adaptable pieces of furniture that are space-saving. My next stage as a designer is to carry out human-centred research to find out where it is needed and what areas could use origami as a design method.

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A4 POSITIONING PAPER

H A FURNITURE X D P S L O O N R A A T RANSFORMATIVE P I A P V T R E E O R A I NTERIORS C A H L S

I want to explore how origami can be used within design, in particular, how it can be applied to furniture design. I also want to explore how different folding methods can be used and how materials can impact this. My next stage as a designer is to carry out human-centred research to find out where it is needed and what areas could use origami as a design method. I could also carry out workshops on how origami could be applied to design and teaching origami to other people.

Furniture is an area of product design, I see myself working in after graduation and next year I want to explore this further as part of my final major project. I want to be practical within my work as I have a hands-on approach to design and prefer to be practical rather than carrying out research.

I aspire to be like Harry Bertoia as he is explorative in his practice and the work, he has done with the wire chair collection inspires me.

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