Tài liệu Convention bos liverpool 2008

LIVERPOOL CONVENTION PACK 12-14 SEPTEMBER 2008 . British Origami Society Autumn 2008 Convention Model Collection Liverpool Hope University Edited by Tung Ken Lam Mark Bolitho and Sue Pope 12–14 September 2008 Contents The Models 1 1 Simple 1.1 Albatross by Andrés Sierra . . . . . . . . . . . . . . . 1.2 Avion Simetrico by Nicolás Delgado . . . . . . . . . . 1.3 Wild One by Michael Weinstein . . . . . . . . . . . . 1.4 Sharkie by Michael Weinstein . . . . . . . . . . . . . 1.5 Stand Tall by Michael Weinstein . . . . . . . . . . . . 1.6 Simple Shirt by Gay Merrill Gross . . . . . . . . . . . 1.7 Clothespin by Gay Merrill Gross . . . . . . . . . . . . 1.8 Ali’s Dish #2 by Nick Robinson . . . . . . . . . . . . 1.9 Sloth by Nick Robinson . . . . . . . . . . . . . . . . . 1.10 Heffalump by Tony O’Hare . . . . . . . . . . . . . . . 1.11 Latajaca Strzalka by Boleslaw Gargol . . . . . . . . . 1.12 Bubble Drop by Miyuki Kawamura . . . . . . . . . . 1.13 Hungry Bird by Laura Kruskal . . . . . . . . . . . . . 1.14 Baby Shoe by Swapnil Shinde . . . . . . . . . . . . . 1.15 Squirrel by Yann Mouget . . . . . . . . . . . . . . . . 1.16 Hexa-Coaster by Loes Schakel . . . . . . . . . . . . . 1.17 Angel by Tony O’Hare . . . . . . . . . . . . . . . . . 1.18 Signpost by Max Hulme . . . . . . . . . . . . . . . . 1.19 Mobile Phone Case by Max Hulme . . . . . . . . . . 1.20 Octagonal Star by Gabriel Blandón . . . . . . . . . . 1.21 3D Card with Infant Jesus by Zsuzsanna Kricskovics 1.22 Xmas Wreath by Zsuzsanna Kricskovics . . . . . . . 1.23 Creche – Joseph by Zsuzsanna Kricskovics . . . . . . 1.24 Creche – Maria by Zsuzsanna Kricskovics . . . . . . . 1.25 Creche – Infant by Zsuzsanna Kricskovics . . . . . . . 1.26 Santa Claus with Bag by Loes Schakel . . . . . . . . 2 Intermediate 2.1 Surprise! by Heinz Strobl . . . . . . . . 2.2 Crystal Star by Denver Lawson . . . . 2.3 Ocean Liner by Mark Bolitho . . . . . 2.4 Two-sided Pinwheel by Hajime Komiya 2.5 8-Pointed Star Quilt by Paula Versnick 2.6 El Gato sin Botas by Patricio Kunz . . 2.7 Tulip Bowl by Boaz Shuval . . . . . . . 2.8 Santa’s Boot by Assia Vely . . . . . . . . . . . . . . . iv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 4 5 8 10 12 13 14 15 16 18 20 22 24 26 28 29 30 32 34 39 40 41 42 43 44 . . . . . . . . 45 46 50 51 54 56 58 60 63 CONTENTS 2.9 2.10 2.11 2.12 2.13 2.14 2.15 2.16 2.17 2.18 2.19 2.20 2.21 2.22 2.23 2.24 2.25 CONTENTS Inflatable Hen by Leyla Torres . . . . . . . . . . Bust of Horse by Omar Tapia . . . . . . . . . . Sparrow by Aı́da Urrutia . . . . . . . . . . . . . Double Container by Dave Brill . . . . . . . . . Cubo Espiral by Jaime Niño . . . . . . . . . . . Swan by Jaime Niño . . . . . . . . . . . . . . . Rectángulos Áureos Ortogonales by Jaime Niño Trilobite by S. Elmer Lopez Ontiveros . . . . . Fossil by Andrés Sierra . . . . . . . . . . . . . . Striped Tetrahedron by John Montroll . . . . . Chicken by Tom Defoirdt . . . . . . . . . . . . . Manta Ray by John Morgan . . . . . . . . . . . Stand by Marc Kirschenbaum . . . . . . . . . . Whale by Marc Kirschenbaum . . . . . . . . . . Dancing Bolero Dancers by Aı́da Urrutia . . . . Ram by Jim Adams . . . . . . . . . . . . . . . . A Tiling Problem by John Morgan . . . . . . . 3 Complex 3.1 Cowboy Hat by Owen Banton . . . . 3.2 Nonagami by Alex Bateman . . . . . 3.3 Fly by Victoria Serova . . . . . . . . 3.4 Egret by Dan Robinson . . . . . . . . 3.5 Eagle Owl by Juan Landeta . . . . . 3.6 Shark’s Attack by Fernando Gilgado 4 Special Guest 4.1 Swan by Edwin Corrie . . 4.2 Bear by Edwin Corrie . . 4.3 Ashtray by Edwin Corrie . 4.4 Pentagon by Edwin Corrie 4.5 Gondola by Edwin Corrie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 . 68 . 70 . 72 . 75 . 78 . 80 . 82 . 86 . 89 . 92 . 94 . 95 . 96 . 100 . 102 . 106 . . . . . . . . . . . . 115 116 122 125 130 132 143 . . . . . 154 155 158 161 164 166 . . . . . 5 Origami and Education 5.1 Paper-folding Polygons by Liz Meenan . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2 Pull-Up Nets by Liz Meenan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.3 Triangular Boxes from Rectangles – an Enrichment Project by Cornelius, Tubis & Andrisan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.4 Open Triangular Box by Tubis & Cornelius . . . . . . . . . . . . . . . . . . . . . . . . 5.5 Triangular Box with Lid by Andrisan & Tubis . . . . . . . . . . . . . . . . . . . . . . 5.6 Promoting Problem-solving, Creativity and Communication in Mathematics Education by Pope & Lam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.7 Origami in the Classroom by C. Edison . . . . . . . . . . . . . . . . . . . . . . . . . . 5.8 Origami Art Therapy by T. Kobayashi . . . . . . . . . . . . . . . . . . . . . . . . . . Index 168 169 180 182 187 191 196 202 204 208 v CONTENTS SIMPLE Simple Albatross Andrés Sierra, 2 Avion Simetrico Nicolás Delgado, 4 Wild One Michael Weinstein, 5 Sharkie Michael Weinstein, 8 Stand Tall Michael Weinstein, 10 Simple Shirt Gay Merrill Gross, 12 Clothespin Gay Merrill Gross, 13 Ali’s Dish #2 Nick Robinson, 14 Sloth Nick Robinson, 15 Heffalump Tony O’Hare, 16 Hungry Bird Laura Kruskal, 22 Latajaca Strzalka Boleslaw Gargol, 18 Baby Shoe Swapnil Shinde, 24 vi Bubble Drop Miyuki Kawamura, 20 Squirrel Yann Mouget, 26 CONTENTS INTERMEDIATE Hexa-Coaster Loes Schakel, 28 Angel Tony O’Hare, 29 Signpost Max Hulme, 30 Mobile Phone Case Max Hulme, 32 Octagonal Star Gabriel Blandón, 34 3D Card with Infant Jesus Zsuzsanna Kricskovics, 39 Xmas Wreath Zsuzsanna Kricskovics, 40 Creche – Joseph Zsuzsanna Kricskovics, 41 Creche – Maria Zsuzsanna Kricskovics, 42 Creche – Infant Zsuzsanna Kricskovics, 43 Santa Claus with Bag Loes Schakel, 44 Intermediate Surprise! Heinz Strobl, 46 Crystal Star Denver Lawson, 50 vii Ocean Liner Mark Bolitho, 51 CONTENTS INTERMEDIATE Two-sided Pinwheel Hajime Komiya, 54 8-Pointed Star Quilt Paula Versnick, 56 El Gato sin Botas Patricio Kunz, 58 Tulip Bowl Boaz Shuval, 60 Santa’s Boot Assia Vely, 63 Inflatable Hen Leyla Torres, 66 Bust of Horse Omar Tapia, 68 Sparrow Aı́da Urrutia, 70 Cubo Espiral Jaime Niño, 75 Trilobite S. Elmer tiveros, 82 Lopez On- Double Container Dave Brill, 72 Swan Jaime Niño, 78 Rectángulos Ortogonales Jaime Niño, 80 Fossil Andrés Sierra, 86 Striped Tetrahedron John Montroll, 89 viii Áureos CONTENTS SPECIAL GUEST Chicken Tom Defoirdt, 92 Manta Ray John Morgan, 94 Whale Marc Kirschenbaum, 96 Dancing Bolero Dancers Aı́da Urrutia, 100 Stand Marc Kirschenbaum, 95 Ram Jim Adams, 102 A Tiling Problem John Morgan, 106 Complex Cowboy Hat Owen Banton, 116 Egret Dan Robinson, 130 Nonagami Alex Bateman, 122 Eagle Owl Juan Landeta, 132 Special Guest ix Fly Victoria Serova, 125 Shark’s Attack Fernando Gilgado, 143 CONTENTS Swan Edwin Corrie, 155 Pentagon Edwin Corrie, 164 ORIGAMI AND EDUCATION Ashtray Edwin Corrie, 161 Bear Edwin Corrie, 158 Gondola Edwin Corrie, 166 Origami and Education "#$ "#$ ! ! Paper-folding Polygons Liz Meenan, 169 Open Triangular Box Tubis & Cornelius, 187 Pull-Up Nets Liz Meenan, 180 Triangular Box with Lid Andrisan & Tubis, 191 “My Abuelita Taught Me a Bird” My Experiences of Teaching Origami in the Classroom Christine Edison 1 August, 2008 I have been teaching for five years, the majority of it high school mathematics. Mathematics, in the U.S.A., is minimally comprised of Algebra, Geometry, and Algebra with Trigonometry. The majority of my time has been spent with low income, high risk students. The first day I taught as a certified teacher in a CPS school we constructed a skeletal octahedron and found surface area, volume, and identified vertices and faces. The students, ranging in age from 16 to 18, were amazed. Creating a manipulative that also looked “raw” gave students a physical connection to Platonic Solids. That day was, simply put, fun. The students did a wonderful job, were excited, and I was hooked. Origami gives students a wide array of skills that go hand in hand with mathematics. Spatial skills, sequencing, and problem solving are just some of the benefits. A great surprise was how it affects the student’s willingness to do accompanying worksheets/bookwork. If I constructed an origami project based on the specific skill set and created practice sheets that directly applied to construction and the skill objective of the day the number of students who completed their work skyrocketed, sometimes with 100% completion. In the low income urban setting that is not the norm. Inclusion classes are classes in the U.S. where students with special needs are mainstreamed. Different learning modalities are often discussed, but some tend to be put aside in the classroom. The ten times that I have had students construct skeletal dodecahedrons in the classroom using Tom Hull’s PHiZZ unit the students that were the best at construction were by and large special needs, and were able to help others, often a first for them. One student, Darius*, came after school and told me “I’m stupid, but today I wasn’t. Please make me smart tomorrow.” While it isn’t feasible to do origami everyday, Darius’s behavior and effort in class changed. A small success for him created a large change in his demeanor and he ended up passing the class. Sometimes the benefit was not academic, but social. A lot of my boys had gone to jail and they went in and out during the school year. One student who came out of lockup midyear was angry and non-responsive, coming to school high most days. I decided to teach a wreath since Winter Break was coming. Roberto1 actually took the paper, which was a change. He completed the activity and more importantly told me about his grandmother teaching him 1 Names changed 1 Origami in the Classroom Christine Edison, 202 Origami Art Therapy Toshiko Kobayashi, 204 x Triangular Boxes from Rectangles Cornelius, Tubis & Andrisan, 182 Promoting Problemsolving, Creativity and Communication Pope & Lam, 196 Chapter 1 Simple 1 1.1. ALBATROSS BY ANDRÉS SIERRA SIMPLE A4 carta 1 2 3 4 5 6 2 1.1. ALBATROSS BY ANDRÉS SIERRA 1/4 SIMPLE 7 8 3 1.2. AVION SIMETRICO BY NICOLÁS DELGADO 4 SIMPLE 1.3. WILD ONE BY MICHAEL WEINSTEIN SIMPLE Ahh, how to break up the radial symmetry of the square to make something flyable? Cephalopods are radially symmetric, and while they scoot very nicely through the water they do little but flop about outside of it. What to do? In this first aircraft, the square is treated like any other ordinary rectangle, despite its wonderful properties. A truly crazy stunt plane that is as fun to fly as it is easy to fold. 1. Crease in half lengthwise. Most airplanes are bilaterally symmetric, although a of couple historical ones were not, such as the Boomerang, designed by aviation visionary Burt Rutan. Unfortunately, these appeared decidedly silly. Humans are not bilaterally symmetric, despite outward appearances. Our hearts point to the left, while our guts point to the right. Failure of this patterning causes a disease called situs inversus, which is bad. 3. Fold the top point down to the bottom of the colored triangle. 2. Valley fold the corners so that the top edges lies on the center. Boy, this seems awfully familiar. 3. Valley fold straight across the front. Notice that we’re concentrating weight up in the front. All airplanes must have the center of gravity (an often imaginary point at which the whole thing can be balanced on an imaginary pin) in front of the center of lift (another imaginary point where all the lifting forces on the aircraft are balanced). Placing the center of gravity behind the center of lift can cause the aircraft to flop about like a Cephalopod. This is really, really bad for actual aircraft, since they often catch on fire when flopping about. This is especially bad for the occupants, who are, despite wishes to the contrary, equally flammable. 5 1.3. WILD ONE BY MICHAEL WEINSTEIN SIMPLE How many pilots does it take to screw in a light bulb? 4. Valley fold so that the folded edge on top touches the point shown. 7. Unfold. 10. Mountain fold parallel to the center, and perpendicular to the back. You can feel where the fold should be, because its where the paper gets thicker. 12. Mountain fold along the center line. 5. Unfold. 8. Valley fold on the crease made in step 2. 6. Valley fold so that the raw outside edge lies on the crease made in step 2. 9. Mountain fold along the creases made in step 4. Tuck the flaps behind all the other layers, to lock up the front. All the best airplanes have nifty little locking folds. 11. Valley fold the wing by bringing the folded edge over to the point shown. 13. Fold the other wing so that it is the same as the first. 12. Wild one! One. The pilot holds the bulb, and the world revolves around him. 6 1.3. WILD ONE BY MICHAEL WEINSTEIN SIMPLE Front View Side View Given a good, hard throw Wild One will perform excellent loops, turns, and other stunts. Top View Of course, the one knock one could knock on the Wild One is it unimaginatively treats the wonderful square like an ordinary old rectangle, even if it does produce extraordinary results. The best thing about a square is that it looks the same on either side when folded diagonally. Thus we can get our all-important bilateral symmetry down the diagonal, and make swoopy airplanes in the process. At one point in my flight training I began flying at night. My instructor and I discussed nightime emergency procedures, which differ slightly from daytime emergency procedures. One usually wants to find a dark spot (where there are no Cephalopods, or people) next to a much brighter spot where there will be people (but possibly not Cephalopods) who may be able to come to one’s aid. As one is coming in to make the landing, one turns on the landing light, to see what it is that one is landing in. When I questioned my instructor as to what I should do if I didn’t like what I saw, he told me to just turn the light back off. True story. 7 1.4. SHARKIE BY MICHAEL WEINSTEIN SIMPLE Sharkie The front looks like a shark, although it performs less like a Cephalopod and more like a flying fish. Start with a square creased down the diagonal. 1. Kite fold. 2. Valley fold the top point to the bottom of the colored flaps. 3. Valley fold the top folded edges into the center. Once again, we put weight forward to avoid flopping. 4. Valley fold the middle flap up to cover the ones above it. 8 1.4. SHARKIE BY MICHAEL WEINSTEIN SIMPLE What’s the difference between a pilot and God? 5. Mountain fold in half. 6. Valley fold the wings, splitting Sharkie's mouth in half. 8. You've completed the Sharkie! Open up the wings perpendicular to the fuselage, and the stabilizers perpendicular to the wings. Sharkie's large wings make it a good glider, as its weight is spread out a great deal. However, its wings are swept back, and it will give an interesting flight if you throw it fast. Front View Top View 7. Valley fold the ends of the wings to make vertical stabilizers. You may want to hold Sharkie up to a light, so that you can see the layer underneath that will be your guide in this fold. Side View God doesn’t think he’s a pilot. 9 1.5. STAND TALL BY MICHAEL WEINSTEIN SIMPLE Stand Tall So you’ve made a couple nice airplanes from your best kami, and found they actually look rather spiffy. A nice way to present them as objects ‘d art is to place them on a nice stand, like the one shown below: 2. Repeat on the bottom. 1. Valley fold so that the edges fall on the center line. 3. Pull out the hidden flaps of paper and flatten. 4. In traditional Origami this is the fish base. Mountain fold the lower flap behind, allowing the shorter flaps to flip down. 10 5. Valley fold the short flaps up along their bases, crease, and unfold.