I spent two weeks last January folding a single crane from a sheet of washi the size of a newspaper spread. Not because the crane mattered, but because I wanted to understand why the wing crease felt more decisive than the tail. The difference was not in the angle. It was in the silence that followed the crease.
Against Decoration
The modern interface has the same problem as bad origami: too many folds, none of them load-bearing. We add tabs and panels as though complexity were a virtue. But the best fold I have seen was Akira Yoshizawa's 1954 elephant: nine creases, grey paper, no color, no gloss. The geometry alone carried the weight. Every surface was a decision.