ORIGAMI

Pučko otvoreno učilište Krapina,Galerija grada Krapine

Magistratska 255. - 20. lipnja 2008.

POETRY IN PAPER

The first origami art exhibitionin Croatia with international origami masters

POEZIJA U PAPIRU

Prva izložba origami arta u Hrvatskoj sa svjetskim majstorima

origamija

Open University Krapina, Krapina City GalleryMagistratska 25June 5 - 20, 2008

ART

Zahvale

Izložbu "Poezija u papiru" organizirali su Pučko otvoreno učilište Krapina, Ga-

lerija grada Krapine, u suradnji sa Veleposlanstvom Japana u Zagrebu.

Željeli bismo izraziti zahvalnost za fiancijsku potporu tvrtki Baotić Rotus d.o.o.,

tvrtki Profil multimedijalne knjižare d.o.o., gradu Krapini, Hrvatskom društvu

znanstvenih i tehničkih prevoditelja te Prevoditeljskom centru.

Posebno zahvaljujemo svim autorima i origamistima koji su poslali svoje radove

za ovu izložbu ili dozvolili drugim origamistima da ih predstave te na taj način

pomogli promoviranju origami arta u Hrvatskoj.

Galerija grada Krapine sa zahvalnošću i poštovanjem prima origami art modele

donirane od: Petera Budaia, Joela Coopera, Dragutina Gerića, Mirjane Go-

letić, Roberta Grettera, Gorana Konjevoda, Michaela G. LaFossea,

Bernarda Peytona, Sanje Srbljinović Čuček, Arnolda Tubisa, Davora Vinka,

Josepha Wua.

Osobito se želimo zahvaliti svim autorima članaka u ovom katalogu: potpred-

sjedniku Britanskog origami društva Davidu Brillu, kustosu origami art izložbe u

Tikotinu Saadyi Sternbergu te Goranu Konjevodu, znanstveniku sa Arizona

State University.

Osobite zahvale dugujemo Davidu Brillu i Goranu Konjevodu za kontakte i

preporuke, posebice Saadyi Sternbergu za dragocjene savjete kustosa i po-

sudbu modela iz njegove privatne zbirke.

Srdačne zahvale upućujemo Biljani Knebl na neumornom radu na dizajnu

kataloga. Na fotografijama za katalog posebno zahvaljujemo Davidu Brillu,

Giang Dinhu, Zdravku Hršaku, Goranu Konjevodu i Bernardu Peytonu.

Sanja Srbljinović Čuček, autorica izložbe

Pučko otvoreno učilište Krapina, Galerija grada Krapine

Acknowledgments

The exhibition "Poetry in Paper" was organized by the Open UniversityKrapina, Krapina City Gallery, in conjunction with the Japanese Embassy inZagreb.

We would like to gratefully acknowledge the financial support of: BaoticRotus d.o.o., Profil multimedijalne knjižare d.o.o., the City of Krapina, theCroatian Association of Scientific and the Technical Translators and CroatianTranslation Agency.

We are particularly grateful to all the origami authors and folders who senttheir art models or permitted other folders to fold their models for this exhibi-tion and thus helped promoting origami art in Croatia.

Krapina City Gallery is honoured and grateful for the donated origami artmodels to: Peter Budai, Joel Cooper, Dragutin Gerić, Mirjana Goletić,Roberto Gretter, Goran Konjevod, Michael G. LaFosse, Bernard Peyton,Sanja Srbljinović Čuček, Arnold Tubis, Davor Vinko, Joseph Wu.

We would especially like to thank for the contributed articles for this cata-logue: Vice President of the British Origami Society David Brill, SaadyaSternberg, curator of the Tikotin origami art exhibition, and Goran Konjevod,scientist from the Arizona State University.

We are also very much indebted to David Brill and Goran Konjevod fortheir contacts and recommendations, and especially to Saadya Sternberg forhis precious curatorial advice and the loan of works from his private collec-tion.

We would like to extend heartfelt thanks to Biljana Knebl for her tirelesswork on the catalogue design. Special thanks for catalogue photography goto David Brill, Giang Dinh, Zdravko Hršak, Goran Konjevod and BernardPeyton.

Sanja Srbljinović Čuček, author of the exhibitionOpen University Krapina, Krapina City Gallery

Sponzori: Baotić rotus d.o.o., Škorpikova 24/1,Zagreb tel. 01/5495-170

Pučko otvoreno učilište Krapina,Galerija grada Krapine

Magistratska 25

5. - 20. lipnja 2008.

POEZIJA U PAPIRU

Prva izložba origami arta u Hrvatskoj sa svjetskim

majstorima origamija

Open University Krapina, Krapina City GalleryMagistratska 25

June 5 - 20, 2008

POETRY IN PAPER

The first origami art exhibitionin Croatia with internationalorigami masters

2

ImpressumPublisher: Open University Krapina, Krapina City Gallerywww.krapina.net/galerijaFor the publisher: Viktorija KrležaAuthor of the exhibition and display: Sanja Srbljinović ČučekForeword by: David Brill, Goran Konjevod, Saadya SternbergCatalogue editor: Sanja Srbljinović ČučekTranslation: Sanja Srbljinović ČučekProofreading:Branimir Čuček, Goran KonjevodPhotography: David Brill, Giang Dinh, Zdravko Hršak, Goran Konjevod and Bernard Peyton.Catalogue design: Biljana KneblPrint: Profil International d.o.o.Edition: 500 copies

ImpressumIzdavač:

Pučko otvoreno učilište Krapina, Galerija grada Krapinewww.krapina.net/galerija

Za izdavača: Viktorija Krleža

Autor izložbe i likovni postav: Sanja Srbljinović Čuček

Predgovori: David Brill, Goran Konjevod, Saadya Sternberg

Urednik kataloga: Sanja Srbljinović Čuček

Prijevod: Sanja Srbljinović Čuček

Lektura:Branimir Čuček, Goran Konjevod

Fotografije: David Brill, Giang Dinh, Zdravko Hršak,

Goran Konjevod i Bernard Peyton.Dizajn kataloga:

Biljana KneblTisak:

Profil International d.o.o.Naklada:

500 primjeraka

Kao mladi origamist, 70-tih sam godina bio fasciniran zapad-njačkim inženjerskim remek djelima tog vremena, npr. Rhoad-ovim Slonom, Cercedinim Maurom na konju, EliasovimTrenutkom istine. U to sam doba imao potrebu im-presionirati, kako bi moja "publika" (uglavnomobitelj i prijatelji) mogli reći, "Zar si to stvarnonapravio iz samo jednog komada papira?!"Moji prvi susreti s britanskim stvaraocima 70-tih,poput Martina Walla i Maxa Hulmea, koji su kas-nije postali moji prijateljski rivali, samo su pojačali tajstav. Na konvencijama Britanskog origami društva(BOS) prikazivali bi vanjštinom slične, autorskemodele poput tenka s rotirajućom kupolom (Wall)i čovjeka na Penny-Farthing biciklu. (Hulme). Ovazadivljenost kompleksnim savijanjem prevladavala jeu BOS krugovima kasnih 70- tih i 80-tih, aizložbeni stolovi na konvencijama bili su prepunisloženih modela nesumnjivo raznolike estetske vri-jednosti. Mnogi od tih modela bili su odeblji,budući da su morali biti savijani iz kvadrata metalnefolije ili laminata vrlo tankog papira i metalne folije,materijala koji su mi danas mrski! Tako dizajniranimodeli pokazivali su malo poštovanja spram kvalitete papira, ilioblika i obrisa predočenog, a još manje prema bilo kakvomstvarnom "životu." Često su bili iskrivljeni u našimpokušajima da budemo strogo točni, vjerujući datrebamo pokazati svaki mogući detalj našihodabranih tema. izvanredni Hulmeov oldtimerimao je čak volan i mjenjač s promjenom boje naručici! Origami je tada izgledao kao izazov ili

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As a young folder in the 70’s I was fascinated by the west-ern origami engineering masterpieces of the day, e.g. Rhoad’sElephant, Cerceda’s Moor on Horseback, Elias’ Moment of

Truth. At that time, I felt a need to impress, so that my“public” (mainly family and friends) would say,“Did you really make that from just one piece ofpaper?!My first meetings with British creators of the 70’ssuch as Martin Wall and Max Hulme, who werelater to become my friendly rivals, reinforced thisattitude. They had a similar outlook, displaying de-signs at BOS conventions such as tank with rotat-ing turret (Wall) and man on penny-farthingbicycle. (Hulme). This admiration of complex fold-ing was prevalent in BOS circles in the late 70’sand 80’s, and convention display tables werefilled with complex designs of decidedly mixedaesthetic value. Many of these pieces were thick,being necessarily folded from rectangles of foil ortissue-foil paper, materials I consider hateful today!The designs showed small regard either for the

qualities of the paper or the form and shape of the subject,and far less any real “life.” They were frequently contorted in

our attempts to be strictly accurate, and our beliefthat we should show every possible detail of ourchosen subjects. Hulme’s remarkable vintage car hada steering wheel and a gear stick, with a colourchange gear knob! Origami seemed then to be achallenge or a puzzle, not an artistic pursuit. Our

David Brill Origami idoli i idealiSome personal views Origami Idols and Ideals of Yesterday and Today

idols then were the American folders Neal Eliasand Fred Rohm. However, at about the same time, a young sculp-ture student, Paul Jackson, arrived on the BOS

scene. A bit of a rebel, he was openly critical of this engineer-ing approach. His style was minimal, and his designs werestrikingly simple. He produced elemental masks, animals andsome original action models such as barking dog, woodpecker,

and horse and rider. Jackson ruffled quite a fewBOS feathers I recall. He showed a very simplefish and someone rather sneeringly commented “Ok, Paul, but what species of fish is it, a trout, asalmon, a pike?” Paul replied: “Well, it’s just a fish.”Jackson’s idols were (and I guess still are!) SeiryoTakegawa and Philip Shen.

It’s interesting to compare these viewpoints and crosscurrentswith the origami styles and creations of leading folders today.The engineering style is still very popular, and Robert Lang’smonumental bible for origami designers, “Origami Design Se-crets” emphasises the trend, still clearly attractive to young en-thusiasts who are ever anxious to impress. It’s apparent that

the terminology which Lang introduced in ODS,such as “circle packing and rivers”, “uniaxial bases”and “grafting” has become very fashionable fornew designers. Lang’s exhaustive research and ana-lytical mind has provided designers with furthertools, such as his computer programme Treemakerwhich is aimed at saving time for those who wishto design many-limbed creatures from uncutsquares.Paul Jackson, still influential, continues to expoundcounter arguments to this engineering style. He says“Dave, the origami world just doesn’t need AN-OTHER stag beetle!” Jackson pioneered a stylecalled “one crease” while working with art studentsin colleges around England in the mid ‘90s. Here

zagonetka, a ne umjetničko pregnuće. Tada su namidoli bili američki origamisti Neal Elias i Fred Rohm. Otprilike u isto vrijeme, na BOS sceni pojavio semladi student kiparstva, Paul Jackson. Pomalo bun-tovnik, otvoreno je kritizirao taj inženjerski pristup. Stil mu jebio minimalistički, a dizajn zapanjujuće jednostavan. Napravioje elementarne maske, životinje te neke originalne pomičnemodele poput lajućeg psa, djetlića te konja i jahača. Jacksonje, sjećam se, digao dosta prašine u Britanskomorigami društvu. Pokazao je vrlo jednostavnu ribu, anetko je prilično podrugljivo prokomentirao:"Dobro, Paul, a koja je to vrsta ribe, pastrva, losos,štuka?" Paul je odgovorio: "No, pa to je samoriba..." Jacksonovi idoli su bili (a pretpostavljamda su još uvijek!) Seiryo Takegawa i Philip Shen. Zanimljivo je usporediti ova gledišta i protustruje s origamistilovima i kreacijama vodećih origamista današnjice. Inženjerskistil je još uvijek vrlo popularan, a monumentalna biblija nami-jenjena dizajnerima origamija, "Tajne origami dizajna" RobertaLanga, naglašava taj trend, i očito je još uvijek privlačnamladim entuzijastima koji silno žele impresionirati. Jasno da jeterminologija koju je Lang uveo u Tajnama origamidizajna, kao što su izrazi "slaganje krugova i linijasavijanja", "jednoosne baze" i "presađivanje",postala vrlo moderna za nove dizajnere. Langovoiscrpno istraživanje i analitički um pružio je dizajner-ima daljnje alate, kao što je njegov računalni pro-gram TreeMaker s ciljem da uštedi vrijeme onimakoji iz nerezanih kvadrata žele dizajnirati bića smnogo udova.Paul Jackson, još uvijek utjecajan, nastavlja izlagatiprotuargumente ovom inženjerskom stilu. Kaže"Dave, origami svijet jednostavno ne treba JOŠJEDNOG jelenka!" Jackson je sredinom 90-tih,radeći sa studentima umjetnosti u engleskimkoledžima uveo stil prozvan "jedan nabor". Tu je

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light and shade playing on a sculpturally formed sheet aremore important than minute detail. His experiments with crum-pling sheets where innumerable creases are randomly placedonto a sheet - curiously the opposite of minimal folding,prompted the Frenchman Vincent Floderer to enter a wholenew world. Floderer inspires his many “CRIMP” followerswith his organic forms. During a visit to Floderer’s studio nearBrive in south west France a few years ago, I realised that hispreoccupation with finding innumerable points from a singlesheet, by repeatedly doubling the sheet and crumpling it, mir-rored my own early origami obsessions - how many useablepoints could I extract from a square? Floderer’s crumplingstyle, though seemingly random and disorganised, is howeverjust as analytical and considered as Lang’s engineered show-pieces. Nevertheless, over the last few years, the preoccupations ofmany young designers east and west, has been for insectswith all their legs, antennae, wings and probosces in an obses-sive search for accuracy. Dinosaurs, dragons, sci-fi and comicbook characters are popular too: this is perhaps because noone knows what the subjects actually look like. So the origami

artist can manipulate his subject, having no living ex-ample as a reference point. Huge liberties of propor-tion and form can be taken, to be accepted by thecritical observer, probably scarcely better informed.The task of including all the “bits” has been madeeasier now, thanks to developments such as the ex-ploitation of the Elias technique of box-pleating, byoutside aids like as Treemaker, and the principles veryclearly explained by Lang in ODS.The recent work of French master folder Eric Joiselis noteworthy: his musicians and figures may borderon the kitsch, but they are lively and expressive, andshow that Joisel has not allowed his demonstratedtechnical skill to overpower his artistic sensibilities.There is a growing interest in origami tessellation

igra svjetla i sjene na skulpturalno oblikovanom arku važnija odminucioznih detalja. Njegovi eksperimenti s gužvanjem papira,pri čemu su nebrojeni nabori na nekom arku postavljani na-sumce - začudo suprotno minimalnom savijanju, potakli suFrancuza Vincenta Floderera da otvori vrata u čitav novi svijet.Floderer svojim organskim oblicima inspirira mnogobrojne sljed-benike "TEHNIKE GUŽVANJA". Pred nekoliko godina,za posjeta Flodererevom studiju kraj Brivea u Francuskoj, shva-tio sam kako njegova zaokupljenost da ponavljanim prekla-panjem i gužvanjem iz jednog arka izvuče nebrojene vrhove,odražava moje vlastite rane origami opsesije - koliko bih koris-nih vrhova mogao dobiti iz jednog kvadrata? Flodererov je stilgužvanja, naoko slučajan i dezorganiziran, međutim isto tolikoanalitičan i promišljen kao i Langovi reprezentativni inženjerskimodeli. Usprkos tome, u nekoliko je zadnjih godina mnogo mladihdizajnera Istoka i Zapada bilo zaokupljeno kukcima i svim nji-hovim nožicama, ticalima, krilcima i rilcima, opsesivno tražećitočnost. Popularni su i dinosauri, zmajevi, likovi naučne fan-tastike i stripova: to je možda zato što zapravo nitko ne znakako oni stvarno izgledaju. Tako origami umjetnik može bitifleksibilan u svom prikazu, budući da nema živogprimjera kojeg bi se trebao držati. Vjerojatno ništabolje informiran, i kritični će promatrač dozvolitiveliku slobodu u proporcijama i obliku. Zadataksastavljana svih "djelića" sad je puno lakši, zah-valjujući dostignućima kao što je korištenjeEliasove tehnike plisiranja kutija, vanjskim pomaga-lima kao što je TreeMaker, te principima koje jeLang vrlo jasno objasnio u Tajnama origami dizajna.Istaknuto je i recentno stvaralaštvo francuskog ma-jstora origamija Erica Joisela: njegovi glazbenici ifigure možda graniče s kičem, no oni su puni živ-ota i ekspresivni te pokazuju kako Joisel nijedozvolio da njegova dokazana tehnička vještinanadvlada njegov umjetnički senzibilitet.

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styles pioneered by Shuzo Fujimoto and ChrisPalmer. For me this style is a bit of a blind alley, butit is a fine means to explore creative pattern mak-ing. However the American Joel Cooper has as-tonished the origami world with his masks: here atessellated grid is stretched and opened to form afully three-dimensional shape with subtle and ex-pressive detail. Joel Cooper’s highly developedsense of form and artistic vision has broken awayfrom the repetitive restrictions of flat tessellationwork.But my origami idol is still Akira Yoshizawa. Let’snever forget some of the lessons he showed us: anacute respect for the material; a strong sense ofshape, form and inner character of the subject; and

an emphasis on suggestion rather than description. Lookat this energetic horse, from Yoshizawa's series of orientalcalendar animals, where the limbs are suggested by subtle

sculpture, and the movement and poise of theanimal are very strongly implied.The curator of this exhibition, Sanja Srbljinović,has the last word.Presently I feel like a gold miner, on a river bank,sifting sands in search for a gold nugget - a trueorigami artist. There are people on both riverbanks. At one side there are lots of children

and youthful grownups playing with paper, kicking and toss-ing it disrespectfully. They fly paper planes, sail paper boats,squash some traditional models. They mix kirigami and origamiand oregano. Some claim it is the same as old folk paper crafts.The other bank is steeper and harder to climb. There are fewpeople there, scattered around, lonely. They love and respectwhat they do. They fold paper with clean hands and cleanheart, as Master Yoshizawa would require.Wouldn't it be wonderful to build a bridge, so that the peo-ple from the youthful side could discover the beauty and wis-dom of true origami art?

Razvija se sve veći interes za stilove origami tesela-cija, čiji su rani zagovornici bili Shuzo Fujimoto iChris Palmer. Za mene je taj stil pomalo slijepaulica, ali je sjajan način istraživanja kreativnih uzorakanabora. Međutim, Amerikanac Joel Cooper zadi-vio je origami svijet svojim maskama: tu se teselacijskamreža širi i otvara kako bi oblikovala cjeloviti trodi-menzionalni oblik uz suptilne i ekspresivne detalje.Visoko razvijeni osjećaj za oblik i umjetničke vizijeJoela Coopera otrgnuo se repetitivnim ograničen-jima plosnatih teselacija.No moj je origami idol još uvijek Akira Yoshizawa.Nemojmo nikad zaboraviti neke od uputa koje namje dao: profinjeno poštovanje prema materijalu;nepokolebljiv osjećaj za obris, oblik i unutarnji karak-ter predočenog; i naglasak na sugestiji, a ne na opisu.Pogledajte ovog energičnog konja, iz Yoshizawine seriježivotinja za orijentalni kalendar, gdje su udovi sugeriranisuptilnim oblikovanjem, a kretanje i držanje život-inje vrlo naglašeno naslućeni.Autorici ove izložbe, Sanji Srbljinović, prepuš-tam zadnju riječ.Osjećam se poput ispirača zlata, koji na obali ri-jeke ispire pijesak u potrazi za zlatnim grumenom- istinskim origami umjetni-kom. Ljudi prolaze sobje obale rijeke. S jedne je strane mnoštvo djecei mlađahnih odraslih. Igraju se, razmeću i razbacuju papirom,bez puno poštovanja. Bacaju papirnate aviončiće, puštaju pa-pirnate brodiće, izgužvaju poneki tradicionalni model. Miješajukirigami, origami i origano. Neki tvrde da su to vidjeli u starimnarodnim zanatima. Druga je obala rijeke strmija i teža za penjanje. Na njoj je maloljudi. Raštrkani su, usamljeni. Vole i poštuju to što rade. Savi-jaju papir čistih ruku i čista srca, kako bi to zahtijevao MajstorYoshizawa.Ne bi li bilo čudesno sagraditi most, pa da ljudi s one mlađahnestrane mogu otkriti ljepotu i mudrost istinske origami umjetnosti?

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Saadya Sternberg Zašto je origami poseban?What Makes Origami Special?

It is from paper. Crisp, dry, thin, perhaps colorful—and soallied with gift wrapping, hence with gift giving, and withthe fragility and freshness of flowers—or possibly plainbrown or white, and so as widely available and unaristo-cratic as a material can be. All that origami needs in addi-tion to paper is—intelligence.It is from paper, folded. The creases are where the intelli-gence comes in: where mind impregnates paper. Invariably,a geometry of some kind appears in the sheet—starting inthe (usually) square initial shape and continuing througheach of the developing model’s permutations of form. Thesequence of folds itself can be natural or artificial, logical orwhimsical, formally repetitive or full of its own rhythm andsurprise. Typically, the poetry of a fold-sequence is re-flected also in the final object. Yet it is not merely a geo-metric intelligence or a poetic fold-sequence which ispreserved in the end-result: each individual folder’s person-ality is reflected there too, like a signature, in the impress ofthat maker’s hand upon the pliant paper. Force, gentleness,bravado, timidity, thoughtfulness, obsessive repetition, orthe grand flourish---all these qualities of character can comeacross in a piece of folded paper. For paper is the most re-ceptive of the materials human art has known.It is from folded paper, uncut and unglued. These limita-tions are essential. They force the mind to find solutions.They keep the art, in all its diverse moves and stratagems, asingle game, as chess is. They preserve the integrity of thecontinuous sheet---and so respect the value of chastity, themystery and potential of the uncut membrane. They allow

Od papira je. Prhkog, suhog, tankog, možda šarenog —pa ga vežemo uz zamatanje poklona, a samim tim i uz da-vanje poklona, uz krhkost i svježinu cvijeća — ili je moždasamo od običnog smeđeg ili bijelog papira, pa je tako i na-jšire dostupan i nearistokratski koliko to neki materijal možebiti. A sve što origami osim papira treba je — inteligencija.Savijen je od papira. Upravo kroz nabore prodire inteligen-cija: tu um prožima papir. Redovito, na listu papira se javljasvojevrsna geometrija — počevši (obično) s oblikomkvadrata i nastavljajući se kroz raznolike promjene oblikamodela. Sam slijed savijanja može biti prirodan ili umjetan,logičan ili ćudljiv, formalno repetitivan ili prepun vlastitogritma i iznenađenja. Tipično, poezija slijeda savijanjaodražava se i u konačnom objektu. A opet nije samogeometrijska inteligencija niti poetski slijed savijanja sačuvan ukonačnom rezultatu: odražena je i osobnost svakog pojedi-načnog origamista, poput potpisa, u podatni je papir utis-nuta ruka tvorca. Snaga, nježnost, razmetanje, plahost,obzirnost, opsesivno ponavljanje, ili veličanstvena kićenost— sve te kvalitete karaktera mogu osvanuti na listu savi-jenog papira. Jer papir je od svih materijala koje je ljudskaumjetnost ikad poznavala najprijemčiviji.Savijen je od nerezanog i nelijepljenog papira. Ta suograničenja bitna. Tjeraju um da pronađe rješenja. Umjet-nost drže, u svim njenim potezima i taktiziranjima, jedin-stvenom igrom, poput šaha. Čuvaju integritet neokrnjenoglista — pa time i poštuju vrijednost nevinosti, misterij i po-tencijal netaknute opne. Dozvoljavaju svakom konačnom ko-raku da bude vraćen, ako je potrebno, čak i do kraja

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odmotan do ravnog kvadrata. Ta reverzibilnost očitujejedinstvo ili zajedničko očinstvo svih različitih predmetaorigamija, ali isto tako cijelom tom pregnuću pridaje osjećajnatjecanja, inteligentne igre. Jer nije bilo sudbonosnih re-zova, niti trajnih veza koje se ne bi dale razriješiti. Svaki sekorak u principu može vratiti ili oblikovati drugačije. To pri-donosi slobodi ili svježini koja zrači iz tih djela.Slijed savijanja papira može se poučavati. Origami je u svo-joj biti komunikativna i dijeljena umjetnost. Modeli se tip-ično dizajniraju tako da ih i drugi mogu napraviti. Dok je uvećini skulpturalnih umjetnosti svaki čovjek prepušten samsebi, tu je situacija više kao u glazbi: lijepi se dizajn možedoživjeti "u izvedbi" mnogo ljudi, a ne samo od samog"kompozitora" — možda čak i bolje od njega. Potiče seinterpretacija. Reakcija je brza i dolazi iz više izvora, tako data umjetnost u cjelini brzo postaje sve bolja. Osim toga, baškao u glazbi, origami dizajn se može komunicirati i licem ulice i indirektno, kroz grafičke dijagrame (koji su poputglazbene partiture). Ta dualna prenosivost, koja je skorijegdatuma — standardna se notacija za prikazivanje origamikoraka kroz dijagrame etablirala tek pred 60 godina —dovela je do prave eksplozije broja izmišljenih origami mod-ela i do nagle internacionalizacije tog područja. Najnovijekreacije najpopularnijih stvaratelja, brzo se šire svijetom, štoje sad još više ubrzano Internetom. Danas se u desecima ze-malja, svake godine održavaju konvencije, gdje na stotineorigami entuzijasta prikazuje svoja postignuća i gorljivo razm-jenjuje savjete i tehnike.Što origami čini posebnim? To se u posljednje vrijeme pitajui direktori muzeja. Jer se u zadnjih desetak godina, svečešće, velike izložbe origami arta održavaju u vodećim svjet-skim izložbenim prostorima (primjerice: muzej Peabody-Essexkraj Bostona; Tikotin muzej japanske umjetnosti u Haifi; Ga-lerija Pendulum u Vancouveru; Hangar-7 u Salzburgu;

each final result to be reversed, indeed unfolded if neces-sary all the way back to the flat square. This reversibilitymakes evident the unity or common paternity of all the dif-ferent objects of origami, but it also adds to the sense ofthe entire enterprise as a game, as intelligent play. For nofateful cuts have been made, and no permanent bondingswhich can’t be undone. Each step can in principle be takenback, or handled a little differently. This adds to the free-dom or freshness which shines from the works.A paper-fold sequence can be taught. Origami is funda-mentally a communicative and shared art. Objects are typi-cally designed so that others can make them too. Whereasin most of the plastic arts it is every man for himself, herethings are more like in music: a nice design will be “per-formed” by many people besides the “composer”—per-haps even better than he can. Interpretation is encouraged.Feedback is quick and comes from multiple sources, so theart as a whole quickly grows better. Also, just as in music,origami designs can be communicated both face-to-faceand indirectly, through graphic diagrams (which are like mu-sical scores). This dual-transmissibility, which is recent—thestandard notation for diagramming origami moves was set-tled on only 60 years ago—has led to an explosion in thenumber of origami models invented and to a rapid interna-tionalization of the field. The latest designs by hot creatorsquickly hop across the globe, a process sped up still morenow by the Internet. Conventions are now held every yearin dozens of countries, where hundreds of folding enthusi-asts show off their productions and eagerly share tips andtechniques.What makes origami special? This question is being askedtoo by Museum directors lately. For increasingly over thelast decade or so, large-scale exhibitions of origami art havebeen held in leading venues around the world (such as: the

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Muzej za umjetnost i obrt u Hamburgu; Muzej Mingei uSan Diegu; Louvre u Parizu; te kao dio upravo zatvoreneizložbe ‘Dizajn i elastični um’ u Muzeju moderne umjetnostiMoMA, New York). Beziznimno začuđuje velika pos-jećenost tih događanja i entuzijazam posjetitelja. Ova temaprivlači sve dobne skupine i društvene klase. Zašto jeorigami uspješan tamo gdje se ostala suvremena umjetnostprobija? Pa origami stvarno i jest drugačiji. Može biti suvre-men (većina njegovih vodećih imena je još uvijek živuća) alinije uperen protiv tradicije, jer duboko poštuje svoje pori-jeklo staro stotinama godina. Ne podcjenjuje nitirukotvorine, već ih naprotiv cijeni - jer je po sebi od svihrukotvorina najviše vođen upravo rukama. Ništa se ne priječiizmeđu prstiju tvorca i skulpture koja se oblikuje. Nezadržava se na kaosu i zbrci modernog života, već svoj in-telekt troši na priličan problem, kako iz kvadrata dobitidobru zlatnu ribicu. Nema veze sa Velikim UmjetničkimImenom, ni njegovom glamuroznošću — jer je ono dočeg mu je stalo običan papir, pa odatle i veza saobičnim ljudima. A to je ono što privlači mase.Jer sve što origami čini, jest malo čarobnonešto gotovo ni iz čega. To je još uvijek"samo list papira", ali sada s dovoljnogenija, geometrije i duha da vamizmami osmijeh.

Peabody-Essex museum near Boston; the Tikotin Museumof Japanese Art in Haifa; the Pendulum Gallery in Van-couver; Hangar-7 in Salzburg; the Museum fur Kunst undGewerbe in Hamburg; the Mingei Museum in San Diego;the Louvre in Paris; and as part of the just-closed ‘Designand the Elastic Mind’ exhibit at MoMA, New York). In-variably there is surprise at the vastly increased attendancerates these shows bring, and at the enthusiasm of the visi-tors. All age groups and social classes seem to be drawn tothis subject. Why is origami successful were the other con-temporary arts are struggling? Well, but origami really is dif-ferent. It may be contemporary (most of its leading figuresare still alive today) but it is not anti-traditional, for it has adeep respect for its centuries-old origins. It does not dispar-age handicraft either, but rather values it—for it itself is themost ‘handy’ of crafts, nothing coming between the makersfinger’s and the sculpture being formed. It does not dwell

on the chaos and disorder of modern life, but expendsits intellect on the considerable problem of making

a good goldfish out of a square. It has nothingto do with the Big Name Artist or his

glamour — for what it cares about isordinary paper, and through it, the

connection with ordinary peo-ple. And this is what draws

the crowds. For allorigami does, is make a lit-

tle magical something out ofalmost nothing. It is still "just a

sheet of paper” but now withenough genius, geometry, and spirit, to

make you smile.

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Odnos origamija s jedne strane, i znanosti, matematike itehnologije s druge, odnos je recipročne inspiracije i utjecaja. U dizajniranju origami modela, kontinuirano se rješavaju prob-lemi matematike (geometrije), fizike i inženjerstva. Istovremeno, origami konstrukcije pomažu u rješavanju prob-lema tehničkog i industrijskog dizajna u stvarnom svijetu, kaošto je olakšavanje sklapanja i otvaranja zemljopisne karte, ili pakgradnja leće teleskopa koja se može transportirati skupljena usvemirskom shuttleu manjem od leće same, i kasnije raširiti.U ovom kratkom uvodu u znanstvenu stranu origamija dati ćunekoliko primjera bez da nastojim biti opsežan, ili dapokušavam pokriti neke detalje. Sugestije za daljnju literaturunavedene su na kraju članka.

Origami kao geometrijska transformacijaKreiranje prepoznatljivih oblika iz kvadratnog lista papira is-tovremeno je i potaknuto i ograničeno geometrijom. Neka jeograničenja lako vidjeti, dok druga nije. U stvari, postoje svo-jstva koja bi očito trebala vrijediti za bilo koji predmet savijenod lista papira, a zapravo uopće nisu istinita.Primjer.Jedan od prvih teorema u origamiju otkrio je Kawasaki.Uzmite neki vrh na spljošteno savijenom komadu papira i izm-jerite kutove između linija savijanja oko tog vrha. Zbrojimo livrijednosti svakog drugog kuta, zbroj će uvijek iznositi 180stupnjeva.Primjer.List papira je predmet određene veličine. Savijajući ga, porav-navamo neke dijelove i na taj način smanjujemo list. Stoga jeočito da iz lista s opsegom od recimo, 40cm, ne možemo sav-

The relationship between origami on one side, and science,mathematics and technology on the other, is that of reciprocalinspiration and influence. In designing origami models, one continually solves problemsof mathematics (geometry), physics and engineering. At the same time, origami constructions help in solving real-world engineering design problems, such as making a map easyto fold and unfold, or an building an expandable telescopelens that can be transported into space in a space shuttlesmaller than the lens itself.In this short introduction to the scientific side of origami, I willgive some examples without attempting to be comprehensive,or to cover any details. Suggestions for further reading arelisted at the end of the article.

Origami as geometric transformationThe creation of recognizable shapes from a square sheet ofpaper is both guided and limited by geometry. Some of thelimitations are easy to see, but others are not. In fact, thereexist properties that should be obviously true of any objectfolded from a sheet of paper that, in fact, are not true at all.Example.One of the first theorems about origami was found byKawasaki. Take a vertex in a flat-folded piece of paper andmeasure the angles between the creases around the vertex. Ifwe add up the values of every other angle, the sum will al-ways be 180 degrees.Example.A sheet of paper is an object of fixed size. By folding it, wealign some parts and thus make the sheet smaller. Thus it is

Goran Konjevod Origami znanost, matematika i tehnologijaOrigami Science, Mathematics and Technology

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iti oblik s opsegom, recimo, 10m. Međutim,ispostavlja se da ta očita činjenica nije točna:počevši od kvadrata bilo koje zadaneveličine, možemo saviti oblik opsega velikogkoliko god to želimo.Primjer.Od lista papira obojenog crno s jedne, a bi-jelo s druge strane, moguće je saviti, bezrezanja, šahovsku ploču: mrežu osam sa osamnaizmjenično crnih i bijelih kvadrata. To nijeočito, no nekoliko je origamista, kao što suMax Hulme, John Montroll i StephenCasey našlo nekoliko različitih načina da topostignu. Istina je i više od toga: moguće jesaviti šahovske ploče s proizvoljno mnogokvadrata. Ono što nije poznato je kolikotočno šahovska ploča treba biti manja odoriginalnog lista papira. Postoji intuitivno očitrazlog da najveća šahovska ploča osam sa osam od kvadrata40 sa 40 cm ne bi trebala biti veća od 10 sa 10 cm, no kaošto vidimo iz primjera opsega, nije uvijek lako pomiriti intuiciju imatematičku činjenicu, i one se ne moraju podudarati.

Fizička ograničenja origamijaKao što zna svatko tko je pokušao saviti komplicirani model,mogućnosti u savijanju papira nisu ograničene samo matem-atičkim ograničenjima. Stvarni papir ima debljinu, pa savijanjekroz više slojeva nije niti lako, niti je vjerojatno da će dati pre-

obvious that from a sheet with perimeter,say, 40cm, we cannot fold a shape withperimeter, say, 10m. However, this obviousfact turns out not to be true: starting from asquare of any given size, we can fold ashape with perimeter as large as we wish.Example.From a sheet of paper colored black on oneside and white on the other, it is possible tofold, without cutting, a chessboard: an eightby eight grid of alternating black and whitesquares. This is not obvious, but several dif-ferent ways to do this have been found bypaperfolders such as Max Hulme, JohnMontroll and Stephen Casey. More thanthis is true: checkerboards with arbitrarilymany squares can be folded. What is notknown is exactly how much smaller will a

chessboard need to be than the original sheet of paper.There is an intuitively obvious reason that the largest eight byeight chessboard from a 40 by 40 cm square should not belarger than 10 by 10 cm, but as we see from the perimeter ex-ample, intuition and mathematical fact are not always easy toreconcile, and may not agree with each other.

Physical limitations of origamiAs anyone who has tried folding a complicated modelknows, more than just mathematics limits the possibilities in pa-

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cizne rezultate. Zapravo, često se čuje da se "list papira nemože saviti na pola više od 8 puta,'' što se odnosi na činjenicuda svako takvo savijanje podvostručuje broj slojeva. Kad jed-nom presavijeni papir postane deblji nego što je širok, postajeteško savijati ga dalje. (Kad je već o tome riječ, 8 svakako nijeispravan broj; 12 je postignuto, a kad bi se moglo dobiti tanji idulji papir, čak i to ne bi bio maksimalan broj.)Postoje i druga fizička ograničenja savijanja, a sva ona potječuod fizičkih osobina papira koji se savija.Promjena papira dovodi do novih mogućnosti: tanak papiromogućava slaganje više slojeva, dok debeli papir daje snagu iotpornost. Ponekad se papir pokušava modificirati dok se sav-ija. Mokro savijanje pomaže preraspodijeliti učvršćivač unutararka, tako da papir zadrži svoj oblik nakon što se osuši. Metil-celuloza arku dodaje više čvrstoće i djeluje kao ljepilo. (To istotako znači da tvrdnju kako su neki modeli savijeni bezupotrebe ljepila treba uzeti sa zrncem soli, budući da isti um-jetnici ne trepnuvši okom koriste metil-celulozu).Mehanika papira je još neistraženo područje. Vrlo je malopoznato, primjerice o napetosti koja nastaje u listu papira kadga se savija. Lako je vidjeti da presavinuti list ima tendencijurazmatanja, no neki papiri ostaju savijeni gotovo plosnato, adrugi ne. Origami umjetnici poput Paula Jacksona i JosephaWua istraživali su suho tenzijsko savijanje, pri čemu nekinabori pomažu zadržati oblik kompozicije a istovre-meno dopuštaju napetosti papira da prirodnozaobli model. Moje plisirane zdjele i ap-straktni oblici su daljnji primjeri ovetehnike. Primjer.Savinite koncentrične kvadrate u listupapira, naizmjenično redajući kvadrateudubljenog i ispupčenog savijanja. Rezultat ćebiti sedlasti oblik, matematički poznat kao hiper-bolični paraboloid. Postoji intuitivni argument zbog čega

perfolding. Real paper has thickness and folding through manylayers is neither easy, nor likely to lead to precise results. Infact, one often hears that "a piece of paper cannot be foldedin half more than 8 times,'' a reference to the fact that eachsuch fold doubles the number of layers. Once the pile ofpaper becomes thicker than it is wide, it becomes difficult tofold it further. (By the way, 8 is certainly not the right number;12 has been achieved, and if thinner and longer paper hadbeen available, even that would not have been the maximumnumber.)There are other physical limitations to folding, and they allstem from the physical properties of the paper that is beingfolded.Changing paper leads to new possibilities: thin paper allowsmany layers to be stacked, while thick paper lends strengthand resistance. Sometimes one even attempts to modify thepaper as one folds. Wet-folding helps redistribute sizingwithin the sheet, so that the paper maintains its shape upondrying. Methyl-cellulose adds more sizing to the sheet andacts as a glue. (This also means that that some of the claimsabout models folded without using glue should be taken witha grain of salt, because the same artists often don't think twiceabout using methyl-cellulose.)

Mechanics of paper of is still a nascent field. Very little isknown, for example, about the tension generated

inside the paper sheet when it is folded. It iseasy to see that a folded sheet tends to

unfold, but some papers remainfolded almost flat, while others do

not. Origami artists like Paul Jacksonand Joseph Wu have been exploring dry-

tension folds, where certain locking folds keepthe major features of the piece in place while al-

lowing the paper tension to naturally curve themodel. My own pleated bowls and abstract shapes are

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takav oblik minimiziranapetost, ali uopće ne iz-gleda lako dati strogi dokazkoristeći naše sadašnje razumije-vanje matematike i fizike materijala.

Dizajn koji koristi origamiIskustvo u savijanju papira dovelo je doznačajnih postignuća u industrijskom diza-jnu, koja često zahtijevaju duboko razumije-vanje i fizičkih i matematičkih osobina papira.Primjer.Što je zemljopisna karta veća, to se lakše orijentirati,no teže ju je nositi. Upravo ona osobina koja karti dajekorisnost, čini je nespretnom i glomaznom kad je želimonatrag složiti. Treba li je prvo saviti na pola okomito ilivodoravno? Ili možda na trećine? Nakon nekoliko upotreba,nabori se istroše i pucaju, pa trebamo novu kartu. Miurinorješenje temeljeno na poznavanju origamija bio je dizajn kartekoja se može saviti na jedinstven način, a ima i dodatnu os-obinu da je proces slaganja i razmatanja brz kao jednostavnorazvlačenje suprotnih kutova karte.Primjer.Stent je cijev uvučena u tijelo koja pomaže da neka žila, kaošto je koronarna arterija, ostane otvorena, i omogućava nes-metani protok. Nekoliko je stentova bilo temeljeno na origamimodelima. Skupljaju se i umeću u žilu, a zatim manevriraju namjesto, gdje se rašire.

Matematika origamijaNeki su problemi vezani uz origami riješeni. Značajan je uspjehdoživio TreeMaker, program koji je napisao Robert Lang. Akomu zadamo vrlo jednostavnu shematsku figuru, primjerice oblikneke životinje sa četiri noge poznatih duljina i glavomodređene veličine, program će izračunati efikasan način da

further examples of this tech-nique.

Example.Fold concentric squares in a sheet of

paper, alternating between squaresconsisting of mountain and those of val-

ley folds. The result will be a saddleshape, mathematically known as hyperbolic

paraboloid. There is an intuitive argument forwhy this is exactly the shape that minimizes ten-

sion, but it does not seem at all easy to give a rig-orous proof using our current knowledge of

mathematics and physics of materials.

Design using origamiExperience with origami has led to breakthroughs in industrialdesign. These often require a deep understanding of both thephysical and mathematical properties of paper.Example.The larger a map, the easier it is to navigate, but the harder tocarry. The very property that lend usefulness to a map makesit cumbersome and awkward when we try to fold it backdown. Should it be first folded in half vertically or horizon-tally? Or maybe into thirds? After a few uses, the creaseswear out and crack, and we need a new map. An origami-aware solution of this problem by Miura was to design a mapthat can be folded in a unique way, and in fact has theadded feature that the process of folding and unfolding is asquick as a simple stretch of the opposite corners of the map.Example.A stent is a tube inserted into body to help keep a vesselsuch as a coronary artery open, and allow for unrestrictedflow. Several stents have been based on origami models.They are folded up and inserted into the vessel, and then ma-neuvered into place, where they expand.

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dizajnira taj model sa zadanim proporcijama od kvadratnoglista papira. Posao dizajnera se svodi na otkrivanje slijeda kojimse ti nabori trebaju savijati (premda to nije uvijek jednos-tavno). Tomohiro Tachi je razvijao sličan program koji kaoulazni podatak uzima trodimenzionalnu površinu. Takav je raddoveo do novih razvojnih dostignuća u matematici i raču-narstvu, osobito u algoritmima.Primjer.Erik Demaine i njegovi suradnici dokazali su zanimljivi teorempomoću origami konstrukcije. Nacrtajte bilo koju siluetu na listupapira koristeći samo ravne linije. Tada se taj list papira možesložiti tako da će, nakon što je škarama prorezan samo jedanravni rez, razmotani list imati upravo onaj obris kao i početnasilueta.

Mathematics of origamiCertain problems related to origami have been solved. A no-table success is that of TreeMaker, a program written byRobert Lang. Given a stick figure, for example, the shape ofan animal with four legs of known lengths, and a head of acertain size, the program will compute an efficient way to de-sign the model with the given proportions from a square sheetof paper. The designer's job is reduced to figuring out the se-quence in which the folds should be made (though this is notalways easy). Tomohiro Tachi has been developing a similarprogram that takes as input a three-dimensional surface. Suchwork has led to new developments in mathematics and com-puter science, especially in algorithms.

Example.An interesting theorem that uses origamiconstructions has been proved by Erik De-maine and his collaborators. Draw any sil-houette on a sheet of paper using onlystraight lines. Then this sheet of paper canbe folded up so that, after making only onestraight cut with scissors, the unfolded sheetwill have exactly the same shape as the ini-tial silhouette.

Suggestions for further reading:

• Proceedings of the first international meeting of origami science and technology (Ferrara, Italy, 1989). Edited by Humiaki Huzita.

• Proceedings of the second international meeting of origami science and scientific origami (Otsu, Japan, 1994). Edited by Koryo Miura.

• Origami^3, proceedings of the third international meeting of origami science, mathematics and education (Asilomar, California, 2001). Edited by Tom Hull. AK Peters, 2002.

• Origami design secrets: mathematical methods for an ancient art. Robert J. Lang. AK Peters, 2003.

• Geometric folding algorithms: linkages, origami, polyhedra. Erikd D. Demaine and Joseph O'Rourke. Cambridge University Press, 2007.

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NosorogRhyno

DAVID BRILL

KonjHorseDAVID BRILL

Mačka miš i sirCat Mouse and Cheese

DAVID BRILL

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Smeđi medvjed s lososomBrown Bear with SalmonBERNARD PEYTON

DrozdićiBluebird ChicksBERNARD PEYTON

SoviceOwlets BERNARD PEYTON

Američka lisicaKit FoxBERNARD PEYTON

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Nema mjesta (polarni medvjedi)No Room (polar bears)BERNARD PEYTON

Slonić na oporavkuGetWelephant

BERNARD PEYTON

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GrifonGryphon

JOSEPH WU

Engleski buldogEnglish BulldogJOSEPH WU

LavLionJOSEPH WU

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ZdjeliceBowlsModele PHILIPA SHENA savio Boaz ShuvalPHILIP SHEN by Boaz Shuval

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Dvije mačkeTwo CatsGIANG DINH

Četiri zlatne ribiceFour GoldfishRONALD KOH Štakor

RatDAVOR VINKO

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Dva morska psaTwo Sharks FERNANDO GILGADO

ŠkoljkaShellDAVOR VINKO

KapThe DropROBERTO GRETTER

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Dvostruki valDouble WaveGORAN KONJEVOD

Zdjela drugog redaSecond Order BowlGORAN KONJEVOD

Uska zdjela Narrow BowlGORAN KONJEVOD

Košarica s dvije ručkeBasket with two handles

GORAN KONJEVOD

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Zvijezde i romboviStars and Rhombics

CHRISTIANE BETTENS

FaraonPharaohJOEL COOPER

WreathsVjenčićiJOEL COOPER

24Modra noćBlue NightCHRISTIANE BETTENS

Crna teselacijaBlack TessellationCHRISTIANE BETTENS

LabirintLabyrinthCHRISTINE EDISON

Tri cvijetaThree Flowers

CHRISTINE EDISON

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DNA promijenjene bojeColour-Changed DNAdeg farrelly

Visoka petaThe High Heeldeg farrelly

Dekorativna kutijaDecorative BoxARNOLD TUBIS

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OrnamentQuiltModel TOMOKO FUSE savio Goran KonjevodTOMOKO FUSE by Goran Konjevod

Tri modulaThree Modulars

ModeleTOMOKO FUSE

savila Rosana Cohen

TOMOKO FUSEby Rosana Cohen

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Vijetnamski žoharVietnamese Cockroach NGUYEN HUNG CUONG

Jelenak, šahovnica i paukStag Beetle, Checkerboard and SpiderPETER BUDAI

AnturiumAnthurium

SANJA SRBLJINOVIĆ ČUČEK

Leptir Aztec Alexander Swallowtail Butterfly

MICHAEL LAFOSSE

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Lepršave pticeFlitting BirdsSAADYA STERNBERG

OraoEagle

NGUYEN HUNG CUONG

LabudSwanDRAGUTIN GERIĆ

LjiljaniLillies

MIRJANA GOLETIĆ

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Glava ženeHead of a WomanSAADYA STERNBERG

Djevojčica s mačkomLittle Girl and Cat

GIANG DINH

Majka i dijeteMother and Child

GIANG DINH

Lice IndijancaIndian FaceGIANG DINH

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PRIZNANJA

Akira Yoshizawa, Japan (1911-2005)Moderni origami umjetnici posebno priznanje odaju vodećem svjetskomorigami majstoru, Akiri Yoshizawi, za promicanje origamija u umjetnost iznanost 21. stoljeća. Kreirao je na tisuće origami modela, uveo skulpturalnetehnike i tehnike stabiliziranja kao što je savijanje na mokro. Uz Sama Ran-dletta, osmislio je sustav zapisivanja koji se danas koristi u crtanju origami di-jagrama.

ORIGAMI AUTORI

CHRISTIANE BETTENS, ŠvicarskaLiječnica i u svijetu zapažena origami umjetnica. Za svoje teselacije inspi-raciju nalazi u sakralnim i cvjetnim motivima. Kaže: "Origami je kao haiku:stroga pravila, bez suvišnih riječi, no može se izraziti bogatstvo osjećaja.Jednostavnost je srž umjetnosti"

DAVID BRILL, UKPotpredsjednik Britanskog origami društva, slikar i jedan od vodećih svjet-skih imena origami arta, David Brill je poznat kao "ambasador origamija". Uviše od pedeset godina posvećenih origamiju, pamti se po svom čuvenomkonju, životnim figurama ljudi i mačaka. Autor je knjige Brilliant Origami, iz-dane u Japanu.

PETER BUDAI, MađarskaInženjer ekologije zaljubljen u origami i planinarenje, Peter Budai se origami-jem bavi od svoje devete, a prve je knjige o origamiju objavio sa dvanaest.Gostovao je na brojnim međunarodnim origami konvencijama i izlagao naizložbama svjetskih majstora origamija. Član je vodećih svjetskih origamidruštava.

JOEL COOPER, SADBibliotekar, kipar i istaknuti svjetski origami umjetnik, Joel Cooper je poznatpo neobičnim maskama dobivenim širenjem i otvaranjem teselacijske mreže.Iz repetitivnih ograničenja plošnih teselacija izvlači profinjene i ekspresivnedetalje u trodimenzionalni oblik.

GIANG DINH, Vijetnam/SADRođen šezdesetih u Vijetnamu, Giang Dinh sad radi kao arhitekt u SAD.Vodeći je origami umjetnik u tehnici mokrog savijanja. Ima osebujno pre-poznatljivi stil fluidne skulpture, zapažen na istaknutim svjetskim izložbamaorigami arta. Bavi se origami dizajnom od 1998.

CHRISTINE EDISON, SADInspiriran djelima Erica Gjerdea i Joela Coopera, njen umjetnički izraz širigranice origami teselacija prema živoj igri geometrijskih oblika. Christine Edi-son također dizajnira origami modele od novčanica, kutije i modularniorigami.

CREDITS

Akira Yoshizawa, Japan (1911-2005)Modern origami artists pay special tribute to the leading origami master ofthe world, Akira Yoshizawa, for promoting origami into the art and scienceof the 21st century. The creator of thousands of origami designs, he also pi-oneered paper sculpting and stabilization techniques such as wet-folding,and along with Sam Randlett devised the symbol system used in origamifolding diagrams to this day.

ORIGAMI DESIGNERS

CHRISTIANE BETTENS, SwitzerlandPhysician and internationally recognised origami artist. Her tessellations areinspired with sacral and flower motives. She says: "Origami is like haiku:strict rules, no superfluous words, but one can express a wide array offeelings. Simplicity is the quintessence of art."

DAVID BRILL, UKVice President of the British Origami Society, painter and one of the lead-ing origami artists in the world, David Brill is known as "ambassador oforigami". In over fifty years of his origami devotion, he has been noted forhis famous horse, lively human figures and cats. He is the author of BrilliantOrigami, published in Japan.

PETER BUDAI, HungaryEnvironmental engineer with a devotion to origami and mountaineering,Peter Budai started paper folding at the age of nine, at twelve publishedhis first origami books. A guest artist at numerous international origami con-ventions, he has exhibited at international exhibitions featuring masters oforigami. A member of prestigious origami societies round the world.

JOEL COOPER, USALibrarian, sculptor and a prominent international origami artist, JoelCooper is noted for creating distinguished masks by stretching and open-ing a tessellated grid. He has pushed repetitive restrictions of flat tessella-tions to subtle and expressive detail in a three-dimensional shape.

GIANG DINH, Viet Nam/USABorn in the sixties in Vietnam, Giang Dinh now works as an architect inthe USA. He is the leading artist in wet-folded origami, with a distinctivefluid sculptural style, noted at prominent international origami art exhibi-tions. He has been designing origami since 1998.

CHRISTINE EDISON, USA Inspired by work of Eric Gjerde and Joel Cooper, her origami art is push-ing the limits of origami tessellations towards a lively play of geometricforms. Christine Edison has also been designing money folds, modulars andboxes.

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deg farrelly, SADSveučilišni bibliotekar i istaknuti svjetski origami umjetnik, deg farelly seorigamijem bavi više od 40 godina. Ranije član Upravnog odbora Ame-ričkog origami društva OUSA, vodi origami biblioteku, koja članovimaOUSA omogućava posuđivanje rijetkih origami knjiga poštom.

TOMOKO FUSE, Japan Japanska velikanka origamija, Tomoko Fuse, prokrčila je put geometrijskom imodularnom origamiju. Autorica je preko pedeset origami knjiga. Njenenježne i profinjene kutije čak i sramežljive početnike motiviraju na daljnje is-traživanje origami prostranstava.

DRAGUTIN GERIĆ, HrvatskaInženjer elektrotehnike i zaljubljenik origamija. Autor prve origami knjige uHrvatskoj, Origami - vještina savijanja papira. Preko 40 godina opčaransavijanjem papira, vodi krug origami entuzijasta i vodi origami radionice iizložbe.

FERNANDO GILGADO, ŠpanjolskaBibliotekar iz Madrida, poznat je po tome što radi najbolje morske pse -od origamija. Autor je devet knjiga o origamiju.

MIRJANA GOLETIĆ, HrvatskaOd 2005. izlaže i vodi radionice u knjižnicama, školama i učilištima. Njenozanimanje za origami cvijeće brzo je preraslo u kreiranje vlastitih modela.

NGUYEN HUNG CUONG, VijetnamNguyen Hung Cuong, živi u Hanoju. Već osam godina kreira vlastitemodele. Mladi je predstavnik Vijetnamske origami grupe koja zadivljujemnogim, nama još malo poznatim, origami umjetnicima.

RONALD KOH, SingapurRonald Koh, iz Singapura svojim origamijem uspijeva prikazati ranjivu i krhkustranu životinja. Dizajnirao je najprofinjenije zlatne ribice u svijetu origamija.

GORAN KONJEVOD, Hrvatska/SADDr. Goran Konjevod, znanstvenik sa Arizona State University, bavi seorigamijem od djetinjstva. 2005. započinje istraživati mogućnosti tenzijskogsavijanja i teselacijskog plisiranja. 2007. izlaže na izložbi origami majstora uVancouveru, pod vodstvom Josepha Wua, a kao origami umjetnik imao je2008. i prvu samostalnu izložbu u Phoenixu.

MICHAEL LAFOSSE, SAD Plodan origami autor i pedagog, izrađuje najfinije origami papire u svijetu,Michael LaFosse pripada rijetkim učenicima Akire Yoshizawe, koji su nasli-jedili ponešto od majstorovog osjećaja za papir - zajedno sa smislom zajednostavnost.

deg farrelly, USA University librarian, internationally noted origami artist, deg farrelly has beenan active origami folder for more than forty years. Former member ofOUSA Board of Directors. Operates the OUSA Lending Library(books by mail service).

TOMOKO FUSE, Japan Tomoko Fuse, the Grand Dame of origami in Japan today, is the pioneerof geometric and modular folding. She is the author of over fifty origamibooks. Her delicate and refined boxes motivate even shy beginners to ex-plore further realms of origami.

DRAGUTIN GERIĆ, CroatiaElectrical engineer and origami devotee. Author of the first Croatianorigami book, Origami - the art of paper folding. Over 40 years under aspell of paper folding, he is leading a group of origami enthusiasts, givingorigami workshops and exhibits.

FERNANDO GILGADO, SpainFernando Gilgado, a librarian in Madrid, makes the best origami sharks inthe world. He is also the author of nine books of origami.

MIRJANA GOLETIĆ, CroatiaSince 2005 exhibits and runs origami workshops in libraries, schools andopen universities. Interested primarily in flowers, she quickly advanced tocreating her own models.

NGUYEN HUNG CUONG, VietnamNguyen Hung Cuong, who lives in Ha Noi city, Viet Nam, has been fol-ding creatively for eight years. He is a young representative of the Vietnamorigami group of admirable origami artists, scarcely known to our public.

RONALD KOH, SingaporeRonald Koh, from Singapore, somehow manages to show the vulnerableand fragile side of animals in his origami. He is also the designer of thefinest goldfish in the origami world.

GORAN KONJEVOD, Croatia/USADr. Goran Konjevod, scientist at Arizona State University, has been prac-tising origami from his early age. In 2005 started exploring possibilities oftension folding and tessellation pleating. In 2007, he exhibited at OrigamiMasters in Vancouver, curated by Joseph Wu, and in 2008 had his firstsolo exhibition as an origami artist in Phoenix.

MICHAEL LAFOSSE, USAA prolific designer and educator, the maker of the finest origami papers inthe world, Michael LaFosse is among the very few students of Yoshizawato have inherited some of the master's "touch" with paper - along with asense of simplicity.

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BERNARD PEYTON, SADIskustvo dr. Peytona kao istraživača biologa u papir otiskuje životnost ijedinstvenost svake prikazane životinje. Za razliku od većine origami autora,koji rade sa rubom papira, njegova origami umjetnost istražuje zakrivljenepovršine i nabore iz sredine papira. Trenutno radi na novoj origami knjizi,koja se očekuje 2009-2010.

PHILIP SHEN, Hong Kong/SAD 1931-2004Rođen na Filipinima, dr. Shen je studirao teologiju i bio dekan Chung Chikoledža Kineskog sveučilišta u Hong Kongu. Savijanje papira je započelo uKini, s otkrićem papira, tvrdio je. Isticao je vrijednost origamija u interkultur-alnom razumijevanju i kreativnom izražavanju. Njegove su jednostavne i es-tetski profinjene origami kreacije izlagane i objavljivane u UK SAD HongKongu Japanu, Singapuru.

SANJA SRBLJINOVIĆ ČUČEK, HrvatskaPrevoditelj i zaljubljenik origamija, 2005. je pokrenula malu grupu origamientuzijasta i s njima organizirala 13 izložbi i 30 radionica u knjižnicama, ško-lama i učilištima. Od 2007. član Britanskog origami društva. Inicijator iautor prve origami art izložbe u Hrvatskoj, Poezija u papiru.

SAADYA STERNBERG, IzraelKipar i filozof iz Beersheve, dr. Sternberg je među origami umjetnicima za-pažen po realističnim ljudskim skulpturama i korištenju zakrivljenih nabora. Usvom blogu origami-aesthetics.blogspot.com raspravlja o pitanjima origamiestetike. Autor je vrlo uspješne izložbe svjetskih origami majstora "Treasuresof Origami Art" u muzeju Tikotin, Haifa.

ARNOLD TUBIS, SADUmirovljeni sveučilišni profesor fizike, dr. Tubis je napisao četiri origamiknjige. Zanimaju ga složeniji modeli koji se mogu efikasno koristiti u osnov-nom matematičkom obrazovanju. Njegovi su modeli bili izlagani na svjet-skim origami izložbama u SAD, Japanu, Europi i Izraelu

DAVOR VINKO, HrvatskaDavor Vinko je asistent na Elektrotehničkom fakultetu Osijek. Kao tinejdžerorigami je savladavao uz pomoć knjiga i Interneta. Njegov nedavno oživ-ljeni interes za origami našao je odjek u stvaranju vlastitih modela.

JOSEPH WU, KanadaVodeći svjetski profesionalni origami dizajner, u svojim djelima umije kom-binirati čistoću i složenost. Autor je sjajne izložbe svjetskih origami majstorau Pendulum galeriji, Vancouver.

BERNARD PEYTON, USADr. Peyton's experience as a wildlife biologist permeates the paper withlife and uniqueness of each presented animal. Unlike most origami designersworking on the paper edge, his origami art explores curved surfaces andfolds from the middle of the paper. He is currently working on a neworigami book, to be published in 2009-2010.

PHILIP SHEN, Hong Kong/USA 1931-2004Born in Philippines, Dr. Shen studied Divinity and was the head of ChungChi College, Chinese University of Hong Kong. He claimed paper fold-ing began in China, as did the art of papermaking. He emphasized origamias a valuable medium for intercultural understanding and creative expres-sion. His simple and aesthetically refined origami creations were exhibitedand published in UK, USA, Hong Kong , Japan and Singapore.

SANJA SRBLJINOVIĆ ČUČEK, CroatiaTranslator and origami devotee, in 2005 Sanja initiated a small group oforigami enthusiasts who organised 13 exhibitions and 30 workshops in li-braries schools and open universities. Since 2007 member of the BritishOrigami Society. Initiator and author of Poetry in Paper, the first origami artexhibition in Croatia.

SAADYA STERNBERG, IsraelThe figure sculptor and philosopher from Beersheva, Dr. Sternberg is notedamong origami artists for his realistic human figures and use of curved folds.In his origami-aesthetics.blogspot.com he discusses issues of origami aesthet-ics. He was curating the highly succesful exhibition of international origamimasters "Treasures of Origami Art" in Tikotin museum, Haifa.

ARNOLD TUBIS, USAA retired professor of physics, Dr. Tubis is the author of four origamibooks. He is interested in intermediate-level models that can be used ef-fectively in basic mathematics education. His models have been exhibitedin the USA, Japan, Europe, and Israel.

DAVOR VINKO, CroatiaDavor Vinko is teaching at the Faculty of Electrical Engineering in Osijek.As a teenager learned origami from books and Internet. He recently re-vived his interest in origami and started creating his own models.

JOSEPH WU, CanadaThe leading international origami design professional, Joseph Wu, is ableto combine "cleanness" with complexity in his work. He curated the daz-zling exhibition of international origami masters in Pendulum Gallery, Van-couver.

ORIGAMISTI

ALEKSANDRA BLÄTTLER, Hrvatska/ŠvicarskaZapaženi ilustrator dječjih knjiga, Aleksandra je origami entuzijast od dje-tinjstva. Od 2005. Origami izlaže u knjižnicama, školama i učilištima. Voliizazov složenih modela.

ROSANA COHEN, IzraelRosana Cohen je origamist iznimnog umijeća, u svijetu zapažena po profi-njenoj interpretaciji radova isključivo jedne autorice i jednog žanra: modu-larnog origamija Tomoko Fuse.

VESNA HORVAT, HrvatskaKao radni terapeut, Vesna Horvat promovira origami kao terapeutskumetodu. Njen omiljeni origami autor je Lew Rozelle. Izlaže origami uklubovima i knjižnicama.

ANA KUPREŠANIN, Hrvatska/SADAna Kuprešanin radi u nastavi i statističkim istraživanjima. U slobodno vri-jeme radi skulpture u betonu, metalu i papiru. Njeni origami radovipokazuju istančani senzibilitet i točnost.

KREŠIMIR RAJKI, HrvatskaOrigami entuzijast iz Zagreba, izlaže u klubovima i knjižnicama u Varaždinui Zagrebu 2005. Idejni je začetnik projekta "1000 ždralova iz Hrvatske zaHirošimu" u sklopu djelovanja Hrvatsko-Japansko kulturnog i gospo-darskog društva.

BOAZ SHUVAL, Izrael/SADInženjer elektrotehnike, trenutačno radi u SAD. Zaljubljenik origamija koji začasopis Britanskog origami društva, redovito piše o origami događanjimaširom svijeta. Intervjuira vodeće origami umjetnike i crta dijagrame za vlastitemodele i modele drugih autora.

FOLDERS

ALEKSANDRA BLÄTTLER, Croatia/SwitzerlandA noted illustrator of children's books, Aleksandra has been origami enthu-siast from her early age. Since 2005 exhibits origami in libraries, schoolsand open universities. She delights in folding challenging models

ROSANA COHEN, IsraelRosana Cohen is a folder of considerable craftsmanship, internationallynoted for her delicate interpretation of the work of one designer and onegenre within it: the modular origami of Tomoko Fuse.

VESNA HORVAT, CroatiaAs a work therapist and origami enthusiast, Vesna Horvat promotesorigami as a therapeutic method. Her favourite author is Lew Rozelle. Sheexhibits origami in clubs and libraries

ANA KUPREŠANIN, Croatia/USAAna Kuprešanin teaches and does research in statistics for a living. In herfree time, she sculpts in concrete, metal and paper. Her origami folds showdelicate sensibility and accuracy.

KREŠIMIR RAJKI, CroatiaOrigami enthusiast from Zagreb exhibiting in clubs and libraries in Zagreband Varaždin. In 2005 initiated project "Thousand Cranes from Croatiafor Hiroshima" within the activities of the Croatian-Japanese CulturalAnd Economic Society

BOAZ SHUVAL, Israel/USAAn electrical engineer presently working in the USA. Origami devotee,contributing regularly to British Origami magazine. Travelling around theworld and covering origami events, he writes memorable interviews withprominent origami artists and diagrams his own as well as other artists'models.