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This 3 meter by 3 meter sized Origami deals with the design of the presentation medium for the previous works at the thesis exhibition.

Scaled model

This large scale origami differs from the other works in that it actually creates space in an architectural sense. Gilles Deleuze postulates that the essence of an object is defined not only by its current manifestation, but also by its past and possible future mani-festations. According to Deleuze, this means that an object is a continuous agglomeration of all past and potential future shapes and conditions. This multiplicity between folded two-dimensionality on the one hand, and a source of spatiality when unfolded on the other hand, acts as a connection between the two disciplines of architecture and media design.

The full-size origami during the exhibition

The ability to digitally calculate folding has opened up a large range of possible applications for origami techniques in the recent years. The kind of folding used here is called Miora Ori, and it belongs to the rigid origami. Among others, it is used in aerospace for the space-saving storage of solar panels of satellites. In architecture, it is used for its structural characteristics. However, its use in architecture has much older roots. Friedrich Froebel already recognized, in dealing with kindergartners, the direct and intuitive approach that origami provides for the comprehension of geometry and stiffness of folded structures. Joseph Alber as well used similar methods to allow his Bauhaus-students to playfully discover the relationship between materiality, geometry, and structure.

47 Cf.: Deleuze, G.: Desert islands and other texts, 1953-1974. Cambridge 2003. Page 32. 48 Cf.: Deleuze, G., Guattari, F.: A Thousand Plateaus. London / New York 2004. Page 20. 49 Cf.: Deleuze, G.: Die Falte. Leibniz und der Barock. Frankfurt a. M. 2000. 50 Lister D.: Die Geschichte des Papierfaltens. Eine deutsche Perspektive.In: Der Falter, Nr.35 und Nr.37, Jg. 2003 and 2004. 51 Albers, J.: Concerning fundamental design. In: Bauhaus 1919-1928. Bayer H., Gropius W., Gropius I. (Hg.). Boston 1952. Pages 114-121.