David Rosenwasser

Clay Non-Wovens Dept. of Architecture, AAP,

Cornell University & Sabin Design
Lab, AAP, Cornell University
Sonya Mantell
Dept. of Architecture, AAP,
Cornell University
Robotic Fabrication and Digital Ceramics
Jenny Sabin
Dept. of Architecture, AAP,
Cornell University & Sabin Design
Lab, AAP, Cornell University

1 2

ABSTRACT
Clay Non-Wovens develops a new approach for robotic fabrication, applying traditional craft 1 Production of ceramic compo-
nent system using woven and
methods and materials to a fundamentally technical and precise fabrication methodology. This
non-woven patterning.
paper includes new explorations in robotic fabrication, additive manufacturing, complex patterning,
and techniques bound in the arts and crafts. Clay Non-Wovens seeks to develop a system of 2 Detail of a glazed Non-Woven panel
with ordered geometry.`
porous cladding panels that negotiate circumstances of natural daylighting through parameters
dealing with textile (woven and non-woven) patterning and line typologies. While additive manu-
facturing has been built predominantly on the basis of extrusion, technological developments in
the field of 3D printing seldom acknowledge the bead or line of such extrusions as more than a
nuisance. Blurring of recognizable layers is often seen as progress, but it does away with visible
traces of a fabrication process. Historically, however, construction methods in architecture and
the building industry have celebrated traces of making ranging from stone cutting to log construc-
tion. With growing interest in digital craft within the fields of architecture and design, we seek to
reconcile our relationship with the extruded bead and reinterpret it as a fiber and three-dimensional
drawing tool. The traditional clay coil is to be reconsidered as a structural fiber rather than a tool
for solid construction. Building upon this body of robotically fabricated clay structures required the
development of three distinct but connected techniques: 1. construction of a simple end effector
for extrusion; 2. development of a clay body and; 3. using computational design tools to develop
formwork and toolpath geometries.

502
INTRODUCTION
In our study of non-wovens, we seek to investigate redun-
dancy through overlaid lattices, variations of toolpaths, and
the negotiation of material properties such as shrinkage and
warping during a kiln firing process. Possible variations within
toolpaths include line weights, degree of curvature (based on
the sine curve), directionality, continuity, overlap, and distance
between layers (Figures 1 and 2). This is achieved by carefully
controlling the flow of pressure from an air compressor, which
dictates the speed of extrusion. When this is done in excess
(faster extrusion than movement of the robot), it creates either a
thicker line weight or irregular looping behavior depending upon
the distance between the previous layer and current extrusion.
We are curious about this looping behavior as a productive tool
for deviating from the standard deposition of regular linework.
Throughout our testing, we explore the limits and strengths
of using this deposition technique. Issues of structure arise,
which give way to a parameterized patterning system that
builds intelligence into a disordered series of patterns. In short,
predictable irregularities can be programmed into each panel as
an intentional pattern (Figures 3 and 4). Much like the process of
felting in the textile industry, we depend upon adhesion through
3
connection points, while also allowing for controllable moments
of porosity. The module or produced panel itself enables a
system for aggregation, offering a variety of possibilities for
tessellation and formal differentiation. Using this system, we are
able to create countless numbers of unique parts (Figure 5).

While earlier definitions of craftsmanship have only involved the

human hand, digital tools raise the question of how to engage
processes of ancient or traditional crafts through new means.
With the advent of ABS and PLA (thermoplastics) as extruding
materials for additive manufacturing techniques, makers are
challenged with an accuracy that demands very little geometric
renegotiation and where measurements can be predictably
defined digitally with very strict tolerances. The craft of ceramics,
dating back many millennia, has appealed to artisans and artists
alike due to its workable plasticity, but also because of its
unpredictable formal characteristics. The clay medium can be
controlled and standardized for brick-making as an example, but
that requires both consistent formwork and wall thickness. When
this consistency varies or a form does away with uniformity, the
material has the tendency to warp, move, and sometimes crack
in spontaneous ways. Put in the context of digital fabrication,
the material adds a series of parameters based more so in craft,
which can be honed, refined, and learned, as we’ve seen in 4

Hod Lipson’s work with robots and painting. The results of this 3 Differing amounts of air pressure 4 By depositing material close to the
create varied line weights. Note surface of the previous layer, the
process may read as similar to something handmade, since the
the difference between patterns in resultant panel appears very similar
machine calibration is intended to produce irregularities (Figures foreground versus background. to its programmed geometry.
5–7). With continuing interest in complex structures and mass

ACADIA 2017 | DISCIPLINES + DISRUPTION 503

 5

6 7

customization, we seek to employ the robotic arm to decom- components via ordered and redundant structures, we depend
partmentalize complex, architectural-scale surface systems and on the fundamental concepts and rules of non-woven patterning
subdivide the whole, but with tolerances that allow for expres- to maintain continuity and coherence between layers.
sive material response. The engagement of precise digital tooling
is married with the playful nature of a clay body, provoking a This paper continues with an ongoing research trajectory in
response that can only be found within the realm of digital crafts. the Sabin Design Lab at Cornell University: the construction of
building components constrained and expressed by an interest
Additive manufacturing typically involves the construction of in digital craft and nonstandard building blocks. Noted first in
objects through the continuous deposition of material, which the PolyBrick Series, the Sabin Design Lab sought to explore
builds up to form solid surfaces. The process of deposition how 3D-printing technology can influence our built environ-
allows the freedom to create a surface with possibilities for voids ment. PolyBrick 1.0 dealt with powder-based printing to create
formed by absences. Less common point-based additive manu- nonstandard blocks forming structural walls. More recent
facturing is also used, where cellular structures are constructed explorations engage structural bone formation and program-
to build lightweight forms, still recognizable by their defined mable matter through DNA glazing, but all using powder-based
shapes or bounding lines. Subtractive processes, such as CNC or stereolithography technology. By shifting upward in scale
(computer numerical control) machining, allow for the manipula- to the fabrication capabilities provided by a 6-axis robotic arm,
tion of nearly any solid material, but can be severely restricted by and also increasing scale and attention to each individual layer,
reductive limitations such as undercuts and scale. we dramatically shift this focus of the nonstandard to address
nonstandard patterning in conjunction with mass customizable
Our approach and vantage point is derived from that of textiles, forms.
where we are instead choreographing the movement, thickness,
and expression of each length of a line or coil. The robot is our Our mission is as follows. 1. Create a mass customizable screen
consistent tool, running through a program of toolpaths that we system, whose porosity can be parametrically controlled (based
prescribe; however, human input decides how to design each on conditions such as daylighting), implementing natural, readily
component and how to create order (or lack thereof) within each available, and reuseable building materials. 2. Develop an
panel. One could interpret this as an exercise of textile design, extrusion system catered toward the often troublesome material
where the designer or human input is analyzing and designing properties of a clay body, which will allow for independent explo-
each textile at the scale of atypically intimate 10 x 10 warp ration of varying clay mixtures, densities, feeds and speeds, and
and weft threads. By challenging the material to create rigid coil size. 3. Design a series of methodical tests and experiments

504 Clay Non-Wovens Rosenwasser, Mantell, Sabin

 5 A variety of final prototypes,
all exhibiting unique patterns
from one another. Some read
as porous and ordered, while
others read as dense and/or
disordered.

6 Looping behavior, which

occurs as a result of depos-
iting material 0.5–2 inches
above the surface of the
previous layer.

7 Rendered image of expected

patterning. The intent and
realized result was to produce
36 panels, which transitioned
from highly structured and
porous to disordered and
dense.

8 Drawing of end effector

design. Device was made
entirely from parts readily
available from a hardware
store, along with a polycar-
8 bonate tube.

that identify the constraints of our toolpaths as they relate to a may be more successful than the use of typical fibrous material.
variety of formally different surfaces. For example, felting of fibers requires considerable amounts
of energy and resources in the process of compressing fibers.
BACKGROUND Deposition of clay requires no additional compressing force, as
Background: Non-Wovens the pressure of gravity causes enough adhesion to bond each
Non-wovens define a category of fabrics that depend upon layer of clay together.
neither the weaving or knitting process. Contrary to the
systematic precision involved to weave through warp and weft, Background: Clay Extruder
non-wovens result from the compression of somewhat randomly In exploring the territory of clay deposition, it is critical to note
oriented fibers becoming entangled chemically, thermally, that many institutions and independent offices have rigorously
mechanically, or by human force. Hydroentangling, needle explored the potential of this material, whether through robot-
punching, and thermal bonding are three of the main processes ically steered or more typical additive 3D printing techniques.
used to produce a non-woven fabric. It does not require conver- This includes Ron Rael and Virginia San Fratello of Emerging
sion of fibers into yarn. Instead, it depends upon short staple Objects, the Harvard Graduate School Of Design, Fablab
fibers and/or long continuous fibers. This process is sometimes Torino, and many others. Several designers and a select group
preferred because of its cheaper price, facility of production, of institutions have recognized clay's potential in our digital age
filtration properties, lighter weight, and function for insulation. and its historical impact on the built environment. Ron Rael and
Virginia San Fratello have experimented with additive processes
This project explores an interest in transitioning from non-woven that engage glitch, using gravity as a tool for complex surface
to woven patterning within the context of robotically fabricated patterning through their additively constructed vessels and
non-standard clay components. Via careful attention to process architectural-scale works such as Seed Stitch. The IAAC (Institute
and detail, we seek to produce a screen system that emphasizes for Advanced Architecture of Catalonia) has been instrumental
a clear visual reading of this gradient and acts as a case study in developing robust end effectors for their additive works. Their
for developing varying systems of clay non-wovens and felting FabClay project demonstrated how store-bought parts, mostly
more specifically. Within the realm of digitally fabricated clay plumbing fittings, could be used to build a simple end effector.
structures, little documentation of felting seems to exist yet in Friedman, Kim, and Mesa, however, of Harvard’s GSD, were able
an academic or industry publication (Figures 10 and 11). We to apply this technique to experiment with fabric structures and
find this opportunistic, in that clay has a makeup of material differentiate Woven Clay by minimizing the number of printed
properties that resonate with the felting process in ways that layers and increasing the size of their extruded coil.

ACADIA 2017 | DISCIPLINES + DISRUPTION 505

 in porosity. While creating an overlaid lattice was successful, no
evidence of a truly woven structure existed. A weave consists of
warp and weft threads, where the weft (horizontal in the case of
a loom) thread passes over and under the warp (vertical) to hold
the warp in tension. All weaves share this relationship of threads
existing over and under, noting that the weft is typically contin-
uous. Put simply, the patterning in Woven Clay is always going
over, but never under, and is therefore not truly woven. While
this was by no means problematic, we saw this as an opportunity
to deviate from their structure and seek out ideas such as felting
within the realm of non-wovens. Woven Clay chose to construct
panels on CNC-milled formwork and cut edges to improve
predictability for assembly. Woven Clay’s video also shows
considerable modifications done by hand. We sought to work
with the challenge of a continuous bead or thread and consider
the intelligence of non-woven fabrics that depend on natural
adhesion from layer to layer rather than tension.

Lastly, the digifabTURINg lab based at FabLab Torino teaches

9
us about how end effectors can be constructed for clay extru-
sion and how clay can respond to digitally fabricated formwork
through what they call “Experimental Materiality.” The digi-
fabTURINg lab has iterated through a variety of end effectors,
beginning with materials like plywood and polycarbonate tubes,
then transitioning to a system that depends upon a more minimal
single-piece metal chamber with machined sealing caps to
ensure proper containment of the clay. With this device, the lab
produces vessels, patterns on fabric formwork, and various other
formal experiments.
10 11

9 Deposition linework and its relationship to possible formworks below. METHODS

Methods: Extruder
10 Example of "felting," resulting from varied air pressure and deposition height. To expedite the process of constructing a clay-extruding end
effector, we researched existing devices and eventually expanded
11 Increased pressure produces more accentuated looping behavior as compared our search to include robotic end effectors and delta-bot
to image beside. Note the straight versus looped line weight. This is a result of
dependent chambers. We discovered that clay extruders typically
increased pressure (higher PSI from air compressor).
involve compressed air, stepper motors, or a combination of the
two. Stepper-motor-driven solutions involve a threaded rod and
Industrial designer Olivier Van Herpt shows us how custom-made geared system, which plunges clay through a nozzle on one end.
yet simple machines such as his delta-bots can produce pieces These examples are well controlled and can be adjusted using
of uncompromisingly high quality. Van Herpt builds his own an Arduino board, but are restrictive in that their chambers are
extruders and 3D printers, which produce an array of fireable typically mounted vertically (which hinders use of a 6-axis robotic
patterned ceramic vessels. Arguably more relevant is the care arm) considering that the threaded rod needs to extend one full
and attention to detail inherent to his machines, which maintain length past the top of the extrusion chamber.
quality control and transform the machine into sculpture.
Pneumatic systems, on the other hand, involve forcing air into an
Harvard GSD’s Woven Clay, published for ACADIA 2014 carried enclosed tank, which pushes clay through a nozzle after ample
with it a series of innovations and also curious nuances. The pressure is applied. These examples are less controlled and
authors made use of a 6-axis industrial robotic arm to deposit often lend themselves to extruding with continuous beads since
clay and eventually create a series of rectangular panels, varying there is a delay between stopping the flow of air and halting

506 Clay Non-Wovens Rosenwasser, Mantell, Sabin

12 Matrix drawing of formwork iterations, beginning with gentle curves and then 13 Drawing to show how deposited material correlates to formwork. By designing
increasing in complexity. This process was used to test material limitations. both formwork and pattern, we were able to carefully work with material behavior.

the flow of clay. The noteworthy benefit of pneumatic-only geometry and linework into physical tests. A continuous curve
systems is that little is involved other than a tightly sealed tank, was first generated in Rhino, baked via Grasshopper script
air compressor hose, and well-fixed nozzle. It does not require or drawn manually. This curve was then applied to a script in
the aid of Arduino boards, but can be modified to add greater Grasshopper, which allows the user to adjust parameters such
functionality. as subdivision number (how many points make up the contin-
uous curve), robot model, dimensions of end effector, and
Secondary iterations are often found alongside simple pneumatic various other factors. This script depended upon HAL, a plugin
systems, which add the use of an auger valve to direct flow. for Grasshopper used for robot programming and control. HAL
This keeps flow more consistent by using an Arduino board and allows those with access to a 6-axis industrial robot to quickly
stepper motor to control speed of rotation for the auger and translate their geometries into rapid code. HAL also incorpo-
therefore control flow rates of the extrusion. The augers we rates 3D models of various robots by ABB and KUKA, and can
studied ranged in size from half-inch drill bits to bits the size of facilitate simulation for the purpose of testing. The robot we
baking mixer blades, depending on the scale of each project. By used for testing was an IRB 4600 by ABB with horizontal reaches
adding an auger instead of a threaded rod for plunging, the need of 2.05 meters and payload capacity of 45 kg. After gener-
to double the end effector’s length is no longer necessary. ating rapid code in Grasshopper, the data is brought into ABB’s
programming software RobotStudio. Once in RobotStudio, little
Electrovalves can be used for the purpose of simple starts and is necessary aside from creating a module with the appropriate
stops. These valves are commonly found in sprinklers and may be robot and adjusting speed or starting position.
one of the simplest options for adding functionality to a clay-ex-
truding end effector. After an extensive research process for the Methods: Formwork
construction of prototypes, we decided to move forward with The material properties of our selected clay body (Standard
a purely pneumatic end effector, as our project aimed to use a Ceramics No. 266 with water added) responded well to a
continuous line and did not demand any additional functionality variety of surface conditions or formworks made from construc-
(Figure 8). tion-grade foam insulation material. With this noted, we
produced a series of base forms with variations in curvature
Methods: Software (domes, arches, peaks, etc.). We sought to use multiple form-
Fabrication and prototyping of our paneling system utilized a works (figures, 9, 12-13) with shared connection types in order
relatively streamlined process of digital tools in order to translate

ACADIA 2017 | DISCIPLINES + DISRUPTION 507

 a suggestion and not a direct translation onto the constructed parts.
This negotiation of precision became our key departure point, where the
accuracy (or lack thereof) of simple and complex linework helped to direct
our path for iterative testing (Figure 14).

Toolpaths were first developed in tandem with our earliest end effector
extrusions, as this allowed us to test calibration and general precision.
These early toolpath matrix drawings (Figures 12–14) build upon one
another. They act as categorical proof of concept, hoping to define our
physical limitations in a methodical manner. The drawings and their resul-
tant toolpaths address questions of desirable material thickness, overlap
tolerances, material strength, and realizable curve accuracy. Toolpaths
were calibrated and perfected by creating an analogically driven formula
that accounts for the speed of the robot’s movement and extrusion speed
based on pressure applied from our pneumatic system. With layering
involved, considerable testing was required to perfect adhesion between
layers without compromising the coils. Human error and imperfections in
our clay bodies should also be acknowledged as factors.

Eventually applying these toolpaths to three-dimensional formworks, the

14
development of whole dynamic components finally became realizable.
Eighteen forms were CNC-milled, optimized for material usage and using
each form to test limitations. Much like we examined the lines them-
selves, formwork was used to test response to lines and patterning such
as adhesion to forms, sharpness of angles, movement during shrinkage,
and reliability of certain shapes or curves. As one example, we found
that sharp ridges are not ideal, as they act as cutting points in contrast to
gentle peaks and valleys.

Calibration and its desired effect is essential to Clay Non-Wovens, in that

the line weight and curve realization often varied dramatically from the
15 16 digitally drawn curve. Such intentional guiding, as in Rael San Fratello’s

14 Linework tests to identify clay and robot limitations when challenged with sharp glitched vessels, can carry a structural expression and functionality of its
curves or tight patterns. own. Toolpath tests also allowed us to discover the minimum extruded

15 Rare instance of panel with high porocity but also showing distinct irregularity. line thickness and minimum number of connection points required to
This example has minimal edge conditions, where two layers of clay have keep a piece intact without breakage during the production process
bonded in select spots, resulting in increased strength.
(two layers resulted in occasional breaks, three layers for consistently

16 Non-Woven panel, which is extreme in both density and irregularity. This piece stable results). Porosity, we found, could be negotiated with structured
uses more material than is needed to survive the firing processes, but utilizes toolpaths containing precise overlap points for most minimal but strong
the excess and looping behavior to prevent ight filtration.
parts (Figure 15). For denser panels, redundancy could be implemented
for added structure, meaning more freedom in line expression (Figure 16).
to create an overall screen system with more complex underlying geome- It should be noted that a series of environmental conditions contribute to
tries. The intent was to design a limited number of base forms, which can the success or failure of each piece before kiln firing such as drying time,
be continually reused (Figure 14). clay viscosity, and humidity of the production space. Similarly important is
that each component gains considerable strength after bisque firing and

Methods: Creation Of Toolpaths far more after glaze firing. The system, however, has not been tested to

The creation of successful toolpaths is dependent upon digital calibra- identify load-bearing capacities.

tions, mathematical calculations, and reactions of material properties

through physical testing. The formation of a line in our virtual world will Methods: Designing A Clay Body Recipe
eventually be translated to an extruded clay coil, which brings about Correctly calculating the viscosity and strength of our clay body was
an extensive series of material parameters that cannot necessarily be essential to the success of each non-woven panel. If clay is too rigid,
predicted virtually or parameterized within a script. The line is therefore its lack of pliability will lead to air redirecting itself to other parts of the

508 Clay Non-Wovens Rosenwasser, Mantell, Sabin

17 Clay crater created when air gap forces high air pressure onto surface of the clay. 18 Variety of panels produced for final testing (36 in total). Dense above and porous
below.

containment chamber and cause an explosion of air pressure, bursting power drill and contained within a lidded 5-gallon bucket to help prevent
the hard rubber fittings that capped our polycarbonate tube. If clay is too evaporation. Glaze was applied using a spray gun in order to coat the
soft, it will extrude uncontrollably and fail to find strength for multiple panels evenly, increase strength, and avoid coating the undersides so that
layers stacking upon one another. the panels could be kiln-fired vertically.

Furthermore, the properties of each individual clay body type can

vary drastically. Fine porcelain has exceptionally low plasticity and fine REFLECTION
particles in its make up, which lead to delicate formal possibilities and In the continuing phases of this project, we seek to resolve discrepan-
exceptional hardness once fired. On the other hand, less fine materials cies in the production of nonstandard components and reduce waste.
containing substantial quantities of grog can be more appropriate for Formwork can potentially be replaced by blocks that can be manipulated,
preventing cracking and reducing shrinkage. While grittier in their nature, printed upon, and reworked. Modeling clay, a commonly used material in
clays containing grog are often more forgiving when handling different the automotive prototyping practice, could be a suitable choice for the
water contents and more likely to keep their form when faced with sharp production of molds with fine finish qualities. By adding functionality to
edges or tight radii. Our clay tests first challenged a question of founda- our end effectors such as tool changers and scrapers, greater intelligence
tion; bagged clay or powder base? Bagged clay is pre-mixed and typically can be imbedded into the fabrication process. This would enable the
free of air bubbles. Dry powder clay requires water, but can be carefully production of nonstandard geometry and patterning with zero waste.
mixed until its viscosity is satisfactory. We found that both options were
Another very clear direction for this project is the engagement of Arduino
feasible, but that bagged clay had many more available clay types, which
controllers for the monitoring and control of pressure. Rather than a
allowed for control of color and plasticity. Both clay foundations required
manual manipulation of pressure and therefore line weight, the designer
mixing with added water, as out-of-box properties were not satisfactory
can be more deliberate and can experiment with finer levels of precision.
for immediate extrusion. After testing a range of options from powdered
Valves are readily available to control the flow of air and auger feeds with
ball clay (gritty and unrefined) to porcelain (expensive and overly sensi-
stepper motors can control speed on the feeding end. For production at
tive), we eventually settled upon a Dark Brown 266, which we bisque to
large scale (Figure 18) with minimal need for manual labor, a much larger
Cone 06 (1825ºF) and glaze to Cone 5 (2167ºF). After glaze firing, the
chamber to hold clay would be ideal. In theory, 50 to 500+ pounds of
clay is smooth and dark, with larger clay particles than found in porcelain
clay could be stored nearby and extruded via tube. Our problem arose
but not “toothy” or gritty due to grog by any means. This 266 clay by
when transferring clay via tube, as the friction requires excessive pres-
Standard Ceramics in nearby Pennsylvania is workable and terrifically
sure. With ample pressure and a tube of larger diameter, it seems more
consistent. This clay was cut into 1 to 2 pound pieces, with 1.5 gallons of
than feasible to have a secondary tank (not physically located on the
water added to each 50-pound bag of clay. This clay was mixed using a

ACADIA 2017 | DISCIPLINES + DISRUPTION 509

 found that pressure was perhaps the most influential factor in producing
desirable and undesirable panels. To our surprise, clay responded well, but
air in the clay body did not. Inconsistencies such as air bubbles produced
gaps in the extrusion process, and creating air pockets toward the end
of an extrusion (when the tank or chamber was nearly empty) produced
clay craters from highly pressurized air releasing itself onto the finely
deposited clay pieces. With reference to formwork and their responses,
we found that formwork was a powerful tool for formal expression and
also reliable for expressing three-dimensional geometries. As the produc-
tion of these forms, however, was wasteful in its nature, we feel that
there is great potential in the possibility for adaptable and/or recyclable
replacements. Prototyping toolpaths first, followed by single panels and
larger scale tests (36 panels), we were able to produce mass customizable
componentry that addressed jointure and a gradient of patterning. The
gradient produced dramatic results as a light filtering system, transitioning
from ordered to disordered and dense to highly porous. This paper
showcases one example of robotic fabrication processes, which foresee
a future for the production of architectural assemblies with expressive
irregularities in the context of digital ceramics.

19 Prototype assembly strategy, using half lap joint and gradient of non-woven
patterning to show porosity and chance in patterning.
ACKNOWLEDGEMENTS
This work is supported by the Department of Architecture, Cornell
College of Architecture, Art and Planning, Cornell University.
robot). This tank would serve to transport clay into a more controlled but
smaller extrusion environment, without added payload constraints to the
robotic arm. A definite goal is the incorporation of a system that allows
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David Rosenwasser is a research and design associate in the
Menges, Achim and Knippers, Jan. 2015. “Fibrous Tectonics.” Architectural
Sabin Design Lab at Cornell University and a 5th year B. Arch Student
Design 85 (5): 40–47. doi: 10.1002/ad.1952.
in Cornell AAP's Department Of Architecture. He is also a Hunter R.
Pigram, Dave and McGee, Wes. 2011. “Formation Embedded Design: Rawlings III Presidential Research Scholar.
A Methodology for the Integration of Fabrication Constraints Into
Sonya Mantell is a 5th year B. Arch Student in Cornell AAP's
Architectural Design.” In Integration Through Computation: Proceedings of
Department of Architecture. She has worked in various architectural
the 31st Annual Conference of the Association for Computer Aided Design in
offices including AZA and Weston Baker Creative Group.
Architecture, edited by by Joshua Taron, Vera Parlac, Branko Kolarevic and
Jason Johnson. Banff/Calgary, Canada: ACADIA. 122–131. Jenny Sabin ’s work is at the forefront of a new direction for 21st
century architectural practice — one that investigates the intersections of
Rael, Ron and San Fratello, Virginia. 2011. "Developing Concrete
architecture and science. Sabin is the Wiesenberger Assistant Professor
Polymer Building Components for 3D Printing." In Integration Through
of Design and Emerging Technologies and Director of Graduate Studies in
Computation: ACADIA 2011 Proceedings. 152-157
the Department of Architecture at Cornell University. She is principal of
Sabin, Jenny, Miller, Martin, Cassab, Nicholas and Lucia, Nicholas. 2014. Jenny Sabin Studio and director of the Sabin Design Lab at Cornell AAP.

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