Day Tripping to Zaragoza

So a fairly well known fact in Origami circles is that there are Origami Museums, few compare in size to the Spanish one in Zaragoza.  When Jo and I had decided to spend time in Barcelona, we discovered Zaragoza was doable day trip from Barcelona Sants regional train station, so a plan was hatched.

Barcelona Sants is a regional rail hub, different to the metro. We will from depart here in a few days for Province, but this station also provides access to many other places in Catalunya and beyond. After locating our platform ( via a very helpful man at the Information counter), we had our bags (and everything else) xrayed before arriving on the platform to find the train already boarding.

We boarded AVE-S112 High Speed train, allocated seats a lot like an airplane, and took off. The train sped underground until it cleared the central city and burst out into the light as farmland flew by. For a lot of the journey the train was topping 295 km/h as it hurtled stop to stop.

After a little over an hour, we arrived at Zaragoza train station, and de-trained, got some refreshments then headed over to the Bus Station, to catch a C1 circle line bus, and rode it the remaining half way around to the terminus. After a brief bit of nav we were picking through the back streets to EMOZ, located on the 2nd Floor of Centro de Historias, Plaza San Agustín 2.

I had been in contact with the museum ever since there seemed a chance for me to visit, and it was lovely to finally meet an online friend named Jesús Artigas. We nerded out a bit, talked about the current exhibition and about Yoshizawa’s works, and particularly the work of Eric Joisel. 

The museum has, on display a number of Joisel’s original works, including one of his gnome orchestras, his large-scale Rhinoceros and his large scale Pegasus.

Jesús let us sneak peak in the store room at Joisel’s large Hippopotamus also, all master works from a genius artist much missed. 

We talked folding, design, and it turns out he is working on an interesting origami publication of endangered Spanish animals, and asked if I was interested in test folding closer to publication date. What an honor indeed, naturally I said yes. That should be fabulous and something else to be involved in when I finally return home.

We parted company with the promise of future collaboration, then Jo and I took our time appreciating the many rooms of exhibits. It was good to see so many original works from legends in the field, including Victor Coeurjoly, Robert Lang, Junior Fritz Jaquett, Kashiwamura, Jozsef Zsebe, a host of different Vietnamese designers, and even a tiny work from Yoshizawa himself. We are not worthy.

The museum also offers informative information about the paper/folding traditions of many countries. It is interesting that many different schools of folding crafts emerged independently with the introduction of paper and paper-like materials. We also saw some very early traditional folds pioneering skills from historical giants that modern day origami designers stand on the shoulders of.

The feature artist at the moment is Vivian Berty, with a number of rooms devoted to her colourful, figurative and representational varied art practice. Such a riot of colour and range of simple to elegant models, compositions and modular works.

It felt like home for me, to be surrounded by an art form I have spent a lot of my life exploring. Nerd-feasts come in every flavour, and this was one of mine. 

After leaving EMOZ, we reversed our journey to Zaragoza Delicias rail station, grabbed a late lunch and then our train back to Barcelona. I am sure I gushed, Jo was very tolerant of a very happy nerd. If I get the opportunity I would like to visit again, as well as explore the other origami museums of the world.

1095: A Wing and a Prayer

Having just treated my first 2 bits of Wenzhou paper, I was itching to fold something (and running out of time to do so). I decided on a Praying Mantis, designed by Jo Nakashima model that I have not yet folded:

Jo Nakashima's Praying Mantis

Based on a 40 grid, using fairly standard box-pleating tricks, this model is a lot of fun to fold. Jo helpfully provides diagrams that detail how to efficiently and accurately lay in the crease pattern (check it out here) and in doing so I learned a LOT about treated wenzhou: It is deliciously thin, crisp and really strong (it allowed me to bugger up a collapse 2 times before getting it right, without paper fatigue). One thing I did not expect was it’s relatively poor reversibility – ie. you fold in one direction and then turn it accurately inside out. I was expecting it to be easier to reverse.

Jo Nakashima's Praying Mantis Views

Instead of “parachuting” (apparently a CP solve no no), I used the central axis and formed the head, thorax and as a consequence formed the front 2 pairs of legs. The abdomen collapse is fascinating and bends back under the wings making it really tidy all round.

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1093: “An Origami Journey”

Avid noticers of this blog will realise that, since 2011, I have been rapidly expanding my abilities as a folder. Like most people, my first ever origami experience (apart from largely unsuccessful paper planes) was an origami crane (Tsuru) – taught to me as a boy of 11 yrs by a Japanese exchange student. A few years back I completed my task of learning how to fold Satoshi Kamiya’s “Ryujin 3.5”. This fold is not unrelated to both events:

Brandon Wong's "An Origami Journey"

Crane to complete Eastern Dragon is quite a journey, learning all sorts of new techniques and refining skills along the way and this fold celebrates that very journey. Originally designed and folded by Brandon Wong (@ThePlantPsychologist) – I first saw his fold on Instagram, and then photos of it on OrigamiDan (a discord server I am a member of) and vowed, one day, to fold it.

Brandon very kindly published the Crease Pattern along with photos of his fold, and right now I am rapidly learning to solve crease patterns so the perfect storm emerged after retiring I have time to tackle more ambitious folds.

Brandon Wong's "An Origami Journey" 360 view

After gridding the 90cm square, I set about laying in the exacting additional creases needed, including a puzzling pythagorean hinge line and some baffling level-shifters. Collapsing was a …. process. Apparently I “parachuted” the model – starting at the edges and working towards a bulging centre is termed parachuting (which is something I must address) until it more or less sat flat. After checking in with Brandon (isn’t the internet amazing) he suggested a fix for the only collapse kludge I had on his right shoulder.

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1091: 林靖詠’s “Man Folds Crane”

I am interested in meta-folds – that is origami designs that are about origami, I stumbled across a series of 4 images of a man (torso) folding a crane on a routine image search for something else and decided I had to track it down. It was re-posted by a re-poster of the original and took some finding but this little beauty finally gave up some prototype Crease Patterns (CPs 1, 2, 3 and 4) and final images and I knew I had to try them:

I took my 90cm medium-thickness roll of Kraft and carved off a square, divided it into fifths, then halved until I got to 40ths, then split the big square into 4 equal smaller squares – each now a 20×20 grid.

Each figure has a different crease pattern – not sure why. I am fairly certain they were all variations generated by Boxpleat Studio (a program that takes stick figures and works out CPs), but I decided to persist – some worked perfectly, some were more of a challenge than others to collapse, each more or less made the formation of the man and the part of the crane easy, but had to nut out some things that were trickey.

I like this design, and am still working on the best way to display it – I am thinking eventually a shadowbox frame might be best.

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1085: Eric Joisel’s “Birth 3”

Eric Joisel was rare in the Origami community – he was a sculptor first, paper folder second. To him, concept was king, technique secondary – saying that however, few breathed more life into paper than him. The “Birth” sculpture series is particularly interesting as the subject is META – arising from the flat sheet , a figure fights to be born – pure genius in his hands.

Joisel's "Birth 3"

“Birth 1” was an abstract humanoid scrambling from the middle of a rectangular sheet, “Birth 1” was a prototype Gnome, and “Birth 3” was one of his signature Dwarves emerging from the edge of a rectangle. I have found no clues as to how Birth 1 or 2 were achieved, but, with some assistance (and a possible CP shared by @fishfolder I was able to have a stab at “Birth 3”.

The journey for this particular fold started in 2019 – our last International travel prior to the pandemic. We travelled to Hanoi in Vietnam. One of the pilgrimages on that trip was to a small outlet store for a village collective who were revitalising the art or making traditional Dó paper by hand. I bought a sheaf of sheets, all natural dyes from Zó Project and carefully shepherded them home in a postal tube safely tucked into our suitcase. I now had a perfect sheet for this model: Natural Dó with leaf inclusions, an almost fabric-like sheet 60x40cm. I needed the shave the deckle edge off one long side to give me a “square” reference, as the sheet was deliciously wonky – this left me with a sheet close to 1.8×1 in proportions.

views

Next, the protracted and painful process of laying in the creases to allow the base collapse. The first cut and the first fold are the hardest, as there is no room for error. I was determined not to lay in any unnecessary folds, to allow the otherwise untampered paper to shine. I used the 28 grid version of Joisel’s Gnome, because I like the proportion of arm:body:legs you get at this grid, but accurately laying in 28th-based creases was an exercise in measured mister really.

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