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A similar fixation tends to happen with regular patterns, so these should always be tested against the most irregular version of the same pattern to see what in fact is doing the work. Irregularity versus regularity, plotted and repeated patterns versus freeform and varying curves—all this raises another issue, this time a purely aesthetic one: the old, grand tension between mathematical optima and repeatability on the one side, and romantic and individual expression on the other. This is rather a large topic to broach just here: entire cultures are defined by where and how they come out on this continuum.

Let T be limn→∞ Tn . It has a set of accumulation points that correspond to K placed into the middle of it. Moreover, it is gained by open sink-folding at the tip of a single-vertex fold. In other words, the paper doesn’t have to be bounded. However, there is a problem. As you may notice, the highlighted zigzag crease in Figure 14 doesn’t appear on the generator that covers the crease. Figure 14. Blow-up of the center part. ✐ ✐ ✐ ✐ ✐ ✐ ✐ ✐ 38 I. Origami in Design and Art Figure 15. Generators for the center part.

3 Variation of Inside Out The basic Celes modules can be assembled as a model turned inside out as well. It is very hard to complete this model because all of the connection parts are inside; the reader is encouraged to try. 4 Changing Angles of Connections More exciting arrangements can be made by changing the angle of connection of the Celes module. The form of the connection of the basic module is a right triangle, as shown in Figure 2. The key angle inside the triangle is denoted by θ in Figure 2 and in the following discussion.

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Algorithmic Geometry [auth. unkn.]

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