Stacking — where it appears
Named by 15 essays across 4 fields — each of them below, with the objects they name alongside it.
One marking, many objects
A crease pattern with every mountain and valley written on it is spoken of as though it named a folded model. At four creases it does. At six it need not, and at the eight-crease vertex in the middle of the first base anybody folds, a single marking can be folded into four genuinely different objects — same creases, same letters, four answers.
The order does not name it either
A photograph of a folded model carries an outline and a layer count, and that is not enough to recover the pattern. Hand the observer the layer order as well — everything the object physically is — and most of the ambiguity goes. Most. What is left are pairs of genuinely different crease patterns that fold to the same object, which no better photograph reaches.
Nothing slides past anything
A marked strip has several legal stackings and this site has counted them at length. Nobody asked whether a folder holding one can reach another by lifting a flap over its neighbour: five hundred and sixty of six hundred and seventy-two stackings have no such move at all, and whether any exists depends on the parity of the segment count.
The count counts labels
One, two, six, sixteen, fifty, a hundred and forty-four: the oldest sequence in the subject counts foldings of a strip of numbered stamps. A folded strip of blank paper has no first stamp and no top side, and neither of those operations ever leaves a folding alone — so the count of objects is 1, 2, 5, 14, 38, 120, and it is not the count over four.
Where the machine catches up
The weakest machine in the subject folds every layer at once and is stopped by a strip with two creases in it. On a strip of equal stamps it is stopped by almost nothing: every one of the 288 folded states a six-stamp strip has is reachable by a sequence of all-layers folds, and on every unevenly creased strip tried it reaches none of them. At seven stamps the completeness ends, and finding out where it ended is what checking it past six was for.
Refused at one lettering
Four of six quadrilateral meshes here have no arrangement of their nine panels — established by searching every ordering, at the labelling each mesh arrived with. Enumerate every labelling instead and two of the four fold perfectly well at a different one. What was reported as a fact about four meshes is a fact about two meshes and two labellings.
A bottom layer on half a rim
The bottom of a folded stack lives at the paper's edge, which is why a sheet with no edge has an order with no least element. A cylinder has half a rim, so it has a bottom — and the count of panels that could be it falls with the rim, which makes the claim a measurement rather than a boundary case.
Two panels that are one panel
Paper cannot pass through paper, and every test for it compares pairs of panels. On a glued sheet two pieces of the drawing can be the same piece of paper — so a test that does not know the identification either reports a collision between a panel and itself, or misses one where the sheet meets itself round the loop.
Three kinds of pile
A thick-panel technique is priced at the deepest pile a pattern has, and the depth of that pile says nothing about where it is. Mapped over the folded footprint, the printed patterns fall into three kinds. On a uniform pile the deepest count is the whole footprint — sixty layers everywhere on the Yoshimura. On an island it is a patch and the rest is shallow. On a graded pile it is a sliver — under one per cent of the tapered corrugation — while nearly nine tenths is at least half as deep, and the Miura, the pattern that gets built, is graded.
A panel is not the unit of depth
A thick-panel design gives each panel a thickness, an offset or a taper, so a graded pile could be met panel by panel only if every panel's folded image lay over one depth. On the Miura none does. Every one of its twenty-four panels lies over three or four of the four depths its pile takes, and on the tapered corrugation every panel lies over all four. The uniform piles are the opposite — every panel of the Yoshimura, the waterbomb and the preliminary base lies over exactly one depth — which is why panel-by-panel techniques look adequate on the patterns they are drawn for. On the Miura the steps between depths cross the middle of panels, and they run parallel to the panels' own sides.
The easiest strip needs the deepest reach
The patient machine and the machine that may choose are the two ends of one number: how many layers of the pile a machine is allowed to hold. At one it reaches four states whatever the strip; at the pile's full depth it reaches everything. In between it is a machine nobody has defined, and measuring where completeness arrives inverts these essays' own ordering — the evenly creased strip, which the machine that takes everything folds perfectly, needs the deepest reach of all, and one uneven strip is complete at two.
A shallow machine pays in states, not folds
A machine allowed to take only a few layers of the pile at a time reaches fewer folded states, and the natural fear is that it also reaches the ones it does by much longer sequences. Walked breadth first, so that every state's shortest sequence is found, it does not. On unevenly creased strips every state takes exactly one fold per crease at every depth, because no two creases ever lie on one line. On strips of equal stamps a shallower machine needs one fold more for a minority of states and two more for eight of the 924 states at seven stamps — and never more than the crease count, which no machine can exceed.
Fourteen states are one pile
A machine that folds every layer at once reaches every folded state of a strip of six equal stamps and misses fourteen piles at seven. The fourteen are not fourteen things. Taking a pile's bottom stamp and putting it on top maps foldings to foldings, so the 462 piles of seven stamps fall into 33 classes of exactly fourteen, and the missed piles are one whole class: the pile 0 6 1 2 3 4 5 — an accordion of five stamps with the last stamp wrapped round it and slid into the fold that holds the first — seen from each of its seven stamps. At eight stamps the machine misses 64 piles, and they are exactly the piles that leave that one when an end stamp is removed.
The field is empty where it would say nothing
The interchange format for crease patterns has a field for the layer order and nothing ever fills it in. Filling it in where the folded states can be listed — four of the eight printed patterns, and Miura patches to twelve panels — finds that the preliminary base and both twists have exactly one folded state, so every one of the field's signs follows from the crease pattern and the field would record nothing a reader could not compute. The fold-and-cut triangle has two states. The Miura is different: every patch with three or more columns has several — three, six and eleven on the three-by-two, three-by-three and four-by-three — so on the pattern that gets built the field carries information from six panels up, and the field's size had been measured as log₂ of the panels' orderings, which on the preliminary base is fifteen bits for an object that has zero.
One choice with eleven answers
A folded state was proposed as a short list of free choices — which way a flap lies, where a rim panel sits — with the layer-order field's signs following from them. Listed exhaustively on every Miura patch small enough, the choices are never independent: every sign that varies is tied to every other through a shared panel, so the states are one choice with many answers. And there are more answers than the record said. The overlap test had a blind spot a third of a panel wide, and with it corrected the three-by-three Miura has six folded states, not one, and the four-by-three eleven, not five.
Named alongside it
The objects these essays reach for when they reach for this one.
Layer orderingThe machine modelSimple foldabilityFolded stateLayer orderMap foldingReachabilityStamp foldingBoundaryFold formatGluingInformation