The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
My work with clay began as a child when my father, Gregory Sabin, was working on his BFA in ceramics at the University of Washington (UW). My mother, Shelley Leonard, and I would visit him at night when he was in the studio creating beautiful objects
that attracted the interest of local galleries while he was a student. He had sold out solo shows at the Gordon Woodside Gallery in Seattle. While running around the Ceramic and Metal Arts (CMA) building as a child at the UW, I also met Patti Warashina,
Bob Sperry, and Howard Kottler. Little did I know then that I would study and engage with Warashina and Sperry again as a student in the UW Rome study abroad program while pursuing a BFA in ceramics like my dad and a BA in interdisciplinary visual
art. I am grateful to professor and director Jamie Walker and late professors Akio Takamori and Doug Jeck for instilling in me a rigorous and intellectually expansive foundation for making as creative practice through clay while an undergraduate student
at the University of Washington. Fast forward to 2009 after I thought I had left my prior art career in clay behind in favor of architecture, where my interests in art, design, technology, and science merged, I suddenly found an entirely new context
for clay in my design research practice. It was during a hot and humid summer in Philadelphia, Pennsylvania, that we installed, and I began tinkering with our first powder-based 3D printer at the Sabin+Jones LabStudio, where I taught for six years
after completing my master of architecture professional degree at the School of Design, University of Pennsylvania (UPenn).
3D Printing and Customization
The Sabin+Jones LabStudio was a hybrid research and design unit that I co-founded in 2006 at UPenn with the late Dr. Peter Lloyd Jones, a cell and molecular biologist with expertise in matrix biology. Within LabStudio, architects, mathematicians, materials
scientists, and cell biologists actively collaborated to develop, analyze, and abstract dynamic systems through the generation and design of new tools. These new approaches for modeling complexity and visualizing large datasets were subsequently applied
to both architectural and scientific research. We intended to use our new 3D printer to print 1:1 scale component parts of the biological cellular datasets that we were digitally modeling and visualizing in 3D. While excavating a batch of parts for
a prototype that we were developing for an exhibition on computational design at SIGGRAPH, I thought, “What if we tried printing with clay media instead of the proprietary media that ZCorp provided?” Serendipitously, I came across an article
in Ceramics Monthly by Professor Mark Ganter, a mechanical engineer at the University of Washington.1 I contacted Ganter, and we met in his lab later that summer while I was on a trip home to visit family to discuss his research. He also invited Ron
Rael, who had come across the same article and was equally interested in the possibilities of 3D printing clay. Rael and his partner, Virginia San Fratello, established what is now a prolific practice, Emerging Objects, engaging 3D printing across
scales and within a diverse range of media. We have been in touch ever since. After meeting Ganter, I started tinkering with and testing his published recipe composed primarily of dry clay and maltodextrin. I shifted to a high-fire stoneware dry clay
body and adjusted components of the matrix, and we were off and running. I was absolutely blown away by the successful 3D printing of our first biologically informed greenware parts. Clay was back in my life, and I realized that I literally had a
body of knowledge about clay that I could bring to an entirely new context within my collaborative research and practice as an emerging computational designer in architecture.
Beginning in 2009, 3D printing and the mass-customization of component parts have been a core research trajectory starting in the Sabin+Jones LabStudio and now in the Jenny Sabin Lab (JSLab) at the College of Architecture, Art, and Planning at Cornell
University. Within LabStudio, we started working with 3D-printed ceramics to investigate complex biological phenomena through the visualization of microscale datasets embedded in material systems. This was later refined through my seminars and studios
on digital ceramics that I taught, initially at PennDesign (now Weitzman School of Design) and later in the Department of Architecture at Cornell University. As a demonstrator project and spatial prototype, PolyMorph by Jenny Sabin Studio further
advanced techniques, and concepts on digital ceramics.2 Ongoing research in the lab has primarily focused on the printing of custom clay recipes for nonstandard ceramic bricks and tiles. Importantly, the plastic nature of clay offers an exciting material
solution to contemporary generative design processes in architecture, which frequently feature organic and natural forms of increasingly complex expression and ornamentation.
Launching the PolyBrick Series
The PolyBrick series launched in 2013 is a multi-year endeavor under the topic of digital ceramics in the JSLab. I started with a brick because they are an accessible object. Everyone knows what a brick is, but they haven’t changed much for centuries
because of how they are manufactured. With the advent of 3D printing, every brick can be unique. This work includes advances in digital technology, advanced geometry, collaboration across disciplines, and material practices in arts, crafts, and design
disciplines.3
The first phase of the PolyBrick series features the use of algorithmic design techniques for the digital fabrication and production of nonstandard ceramic brick components for the mortarless assembly and installation of 3D-printed and fired ceramic brick
componentry.4 Seeking to achieve a system that required no additional adhesives or mortar, we looked to traditional wood joinery techniques as a means of interlocking adjacent components. We developed a customized tapered dovetail in which the direction
and severity of the tapering are dependent upon the local geometric orientation of each component. Combined with technologies from carpentry, PolyBrick 1.0 served as the technical starting point for what has now spanned nearly a decade of development
within the PolyBrick series.
PolyBrick 2.0 is generated with the rules, principles, and behavior of human bone formation. In collaboration with Dr. Christopher Hernandez, whose expertise is in the biomechanics of bone, this phase of PolyBrick focuses on the highly adaptive nature
of bone to habitual loading and this is particularly present within the cancellous trabecular core of the bone.5, 6 This complex lattice structure undergoes adaptive and cyclic processes of regeneration within its life cycle in response to repeated
loading scenarios.7 This constant evolution guided by loading conditions (such as walking, running, or jumping), presents impactful methods and concepts for the design of highly porous, lightweight, and robust brick structures. Bio-inspired methods
based on directional load adaptation have led to innovations in tool-path design for robotic 3D printing of complex porous geometries such as adaptive re-thickening through feedback between the digital file, executed tool-path, and printed result.8
These analog bone-informed methods produce variegated bricks that are light and porous at the top of a wall and dense at the base to carry load and maintain efficient structural integrity, while also amplifying material and formal expression.
PolyBrick 3.0
In more recent projects informed by biological systems, we explore the possibilities of living surface architecture through the integration of DNA-steered materials.9, 10PolyBrick 3.0 takes our material investigations to the micro-scale. Synthetically
designed with advanced bioengineering, DNA-steered bricks exemplify the vanguard of biologically informed clay and ceramic building blocks in architecture.11 Building on fourteen years of design research on 3D-printed nonstandard clay components and
digitally steered ceramic bricks and assemblies and in collaboration with Luo Labs at Cornell University, PolyBrick 3.0 explores programmable bio-functionalities in our constructed architectural environments through the development of advanced ceramic
bio-tiles. These tiles utilize cutting-edge 3D-printed patterning techniques and novel bioengineered hydrogel materials to tune surface conditions and effects at the micro- and macroscales.12 This transdisciplinary work builds on recent advancements
in the fields of 3D printing, bioengineering, chemical biology, and architecture to reflect on new questions of adaptive and live materials in architecture through the integration of advanced processes in additive manufacturing in ceramics with cutting-edge
research in DNA hydrogel development.13
Synthetically designed with advanced bioengineering, this research uses DNA to design with light where unique signatures fluoresce within the PolyBrick clay body. Our DNA hydrogel stamps operate as an added informational or functional layer, alongside
the physical construction of other materials. The unique DNA stamps within the PolyBricks can store environmental information and use fluorescence to communicate back that data to impact both the local environment and inform humans of conditions within
their local contexts.
In addition to controlling the emission of light through fluorescence, PolyBrick 3.0 features sensing substrates that respond to the local environment. This refinement utilizes glazing strategies as a directable fluidic device and biocompatible hydrogels
as a sensing platform to further developments in responsive built environments. This process includes the production of bulk-scale hydrogel materials, stereolithography-based 3D-printed ceramic tiles, and scalable glazing techniques, which brings
the building-scale application of this technology to the foreground.
DNA nanotechnology will open new possibilities for creating nano- to macroscale materials and architectural elements that can dynamically react to environmental cues and interact with biochemical, and even human, reactions. With our unique DNA stamps
and glaze, we explore the possibility of living matter and dynamic surface techniques for generating new forms of adaptive architecture. Imagine a tiled wall that not only alerts you to local contaminants in your environment through the emission of
light, but also cleans that local air through environmentally responsive biofunctionality.
PolyTile and New Research
Through the development of patterning designed to specifically guide and join DNA hydrogel and ceramic, PolyTile 2.0, a recent development, produced an advanced composite material and multi-step process to produce dynamic, light-responsive ceramic bio-tiles.14
This proven technique first requires the designer to digitally craft (through design software) the surface design of a ceramic tile. The ceramic-hydrogel composite automatically forms dynamic structures within and on the surface of the PolyTiles through
the fluidic system composed of glaze chemistry, texturing, and geometry.15
The implications of this process are extensive, as this novel method may allow for an assortment of bio-responsive behaviors and functionalities embedded within PolyTiles.16 This is especially promising given the extent of pre-existing methods for functionalized
hydrogels that vary in sensing and responsive ability. This case study on light-responsive hydrogel PolyTiles is a compelling beginning to the series because of the potential impact of light on health, perception, and information.17
Leveraging the complex geometries inherently available in 3D printing, we can embed and respond to multiple layers of data simultaneously, creating forms that can respond locally to global conditions such as structural loading, spatial context, and geometric
orientation. Our process for fabrication across the phases of the PolyBrick series also achieves a very high level of material efficiency, creating a minimal amount of waste and requiring no additional materials for the aggregation of parts. The possibility
of incorporating differentiated ceramic bricks and modules in architecture through a controlled and mass-customized process that integrates design to production in one linked loop is readily at hand through the PolyBrick prototype series. We have
effectively designed a series of strategies for 3D printing ceramic brick assemblies at scales and in DNA-steered materials well beyond the existing constraints of additive manufacturing technology. The PolyBrick series continues in my lab through
funded research projects where we are innovating the development of living glazes on custom ceramic architectural tiles to mitigate the local environment of contaminants such as formaldehyde.
In 2001, I decided to stop my artistic practice in ceramics, and I moved out of my studio space in Ballard, a former fishing village in Seattle, Washington, to focus on a night course I was taking in physics, my last requirement to apply to graduate programs
in architecture. Little did I know that my dual interests in science, architecture, design, making, and technology would find the perfect grounding substance in clay.
the authorJenny E. Sabin is the Arthur L. and Isabel B. Wiesenberger Professor in Architecture and the inaugural chair for the new multicollege Department of Design Tech at the Cornell College of Architecture, Art, and Planning, where she co-established
a new advanced research degree in design technology.
1 The Printed Pot by Mark Ganter, Duane Storti, and Ben Utela, Ceramics Monthly, 2009.
2 Sabin, Jenny. “Digital Ceramics: Crafts-Based Media for Novel Material Expression & Information Mediation at the Architectural Scale,” 174–82. New York, USA, 2010. https://doi.org/10.52842/conf.acadia.2010.174.
3 Sabin, Jenny E., Martin Miller, Nicholas Cassab, and Andrew Lucia. “PolyBrick: Variegated Additive Ceramic Component Manufacturing (ACCM).” 3D Printing and Additive Manufacturing 1, no. 2 (June 2014): 78–84. https://doi.org/10.1089/3dp.2014.0012.
4 PolyBrick 1.0 by Sabin Design Lab, Cornell University. Jenny E. Sabin (PI) with Martin Miller and Nick Cassab, 2012-2014.
5 Birol, Eda Begum, Yao Lu, Ege Sekkin, Colby Johnson, David Moy, Yaseen Islam, and Jenny E. Sabin. “POLYBRICK 2.0,” 222–33. Austin (Texas), USA, 2019. https://doi.org/10.52842/conf.acadia.2019.222.
6 PolyBrick 2.0 by Sabin Design Lab, Cornell University, 2019-2022. Jenny E. Sabin (PI) & Christopher Hernandez (Co-PI) with Eda Begum Birol, Yao Lu, Ege Sekkin, Colby Johnson, David Moy, and Yaseen Islam.
7 Lu, Yao, Eda Begum Birol, Colby Johnson, Christopher Hernandez, and Jenny E. Sabin. “A Method for Load-Responsive Inhomogeneity and Anisotropy in 3D Lattice Generation Based on Ellipsoid Packing,” 395–404. Bangkok, Thailand, 2020.
https://doi.org/10.52842/conf.caadria.2020.1.395.
8 Birol, E.B., C.J. Hernandez, J.E. Sabin. “PolyBrick 2.0: Design and Fabrication of Load Responsive Structural Lattices for Clay Additive Manufacturing.” Fifth International Conference on Structures and Architecture (ICSA2022, Aalborg, Denmark,
6-8 July 2022).
9 Rosenwasser, David, Shogo Hamada, Dan Luo, and Jenny E. Sabin. “PolyBrick 3.0: Live Signatures through DNA Hydrogels and Digital Ceramics.” International Journal of Rapid Manufacturing 7, no. 2/3 (2018): 203. https://doi.org/10.1504/IJRAPIDM.2018.092909.
10 Pardo, Yehudah A., Kenneth G. Yancey, David S. Rosenwasser, David M. Bassen, Jonathan T. Butcher, Jenny E. Sabin, Minglin Ma, Shogo Hamada, and Dan Luo. “Interfacing DNA Hydrogels with Ceramics for Biofunctional Architectural Materials.”
Materials Today 53 (March 2022): 98–105. https://doi.org/10.1016/j.mattod.2021.10.029.
11 PolyBrick 3.0 by Sabin Design Lab, Cornell University, 2018-current. Jenny E. Sabin and Dan Luo (Co-Principal Investigators) with David Rosenwasser, Shogo Hamada, and Yehudah A. Pardo.
12 Cohen, D.L., Malone, E., Lipson, H., and Bonassar, L.J. (2006) ‘Direct freeform fabrication of seeded hydrogels in arbitrary geometries’, Tissue Eng., No. 12, pp.1325–1335.
13 See also Jenny E. Sabin, “PolyBrick 3.0: DNA Glaze and Digital Ceramics,” in Experimental Architecture: Designing the Unknown, Rachel Armstrong, ed. (London: Routledge, 2019), 77–79.
14 Zhang, Viola, David Rosenwasser, and Jenny E Sabin. “PolyTile 2.0: Programmable Microtextured Ceramic Architectural Tiles Embedded with Environmentally Responsive Biofunctionality.” International Journal of Architectural Computing 19, no.
1 (March 2021): 65–85. https://doi.org/10.1177/1478077120932421.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
My work with clay began as a child when my father, Gregory Sabin, was working on his BFA in ceramics at the University of Washington (UW). My mother, Shelley Leonard, and I would visit him at night when he was in the studio creating beautiful objects that attracted the interest of local galleries while he was a student. He had sold out solo shows at the Gordon Woodside Gallery in Seattle. While running around the Ceramic and Metal Arts (CMA) building as a child at the UW, I also met Patti Warashina, Bob Sperry, and Howard Kottler. Little did I know then that I would study and engage with Warashina and Sperry again as a student in the UW Rome study abroad program while pursuing a BFA in ceramics like my dad and a BA in interdisciplinary visual art. I am grateful to professor and director Jamie Walker and late professors Akio Takamori and Doug Jeck for instilling in me a rigorous and intellectually expansive foundation for making as creative practice through clay while an undergraduate student at the University of Washington. Fast forward to 2009 after I thought I had left my prior art career in clay behind in favor of architecture, where my interests in art, design, technology, and science merged, I suddenly found an entirely new context for clay in my design research practice. It was during a hot and humid summer in Philadelphia, Pennsylvania, that we installed, and I began tinkering with our first powder-based 3D printer at the Sabin+Jones LabStudio, where I taught for six years after completing my master of architecture professional degree at the School of Design, University of Pennsylvania (UPenn).
3D Printing and Customization
The Sabin+Jones LabStudio was a hybrid research and design unit that I co-founded in 2006 at UPenn with the late Dr. Peter Lloyd Jones, a cell and molecular biologist with expertise in matrix biology. Within LabStudio, architects, mathematicians, materials scientists, and cell biologists actively collaborated to develop, analyze, and abstract dynamic systems through the generation and design of new tools. These new approaches for modeling complexity and visualizing large datasets were subsequently applied to both architectural and scientific research. We intended to use our new 3D printer to print 1:1 scale component parts of the biological cellular datasets that we were digitally modeling and visualizing in 3D. While excavating a batch of parts for a prototype that we were developing for an exhibition on computational design at SIGGRAPH, I thought, “What if we tried printing with clay media instead of the proprietary media that ZCorp provided?” Serendipitously, I came across an article in Ceramics Monthly by Professor Mark Ganter, a mechanical engineer at the University of Washington.1 I contacted Ganter, and we met in his lab later that summer while I was on a trip home to visit family to discuss his research. He also invited Ron Rael, who had come across the same article and was equally interested in the possibilities of 3D printing clay. Rael and his partner, Virginia San Fratello, established what is now a prolific practice, Emerging Objects, engaging 3D printing across scales and within a diverse range of media. We have been in touch ever since. After meeting Ganter, I started tinkering with and testing his published recipe composed primarily of dry clay and maltodextrin. I shifted to a high-fire stoneware dry clay body and adjusted components of the matrix, and we were off and running. I was absolutely blown away by the successful 3D printing of our first biologically informed greenware parts. Clay was back in my life, and I realized that I literally had a body of knowledge about clay that I could bring to an entirely new context within my collaborative research and practice as an emerging computational designer in architecture.
Beginning in 2009, 3D printing and the mass-customization of component parts have been a core research trajectory starting in the Sabin+Jones LabStudio and now in the Jenny Sabin Lab (JSLab) at the College of Architecture, Art, and Planning at Cornell University. Within LabStudio, we started working with 3D-printed ceramics to investigate complex biological phenomena through the visualization of microscale datasets embedded in material systems. This was later refined through my seminars and studios on digital ceramics that I taught, initially at PennDesign (now Weitzman School of Design) and later in the Department of Architecture at Cornell University. As a demonstrator project and spatial prototype, PolyMorph by Jenny Sabin Studio further advanced techniques, and concepts on digital ceramics.2 Ongoing research in the lab has primarily focused on the printing of custom clay recipes for nonstandard ceramic bricks and tiles. Importantly, the plastic nature of clay offers an exciting material solution to contemporary generative design processes in architecture, which frequently feature organic and natural forms of increasingly complex expression and ornamentation.
Launching the PolyBrick Series
The PolyBrick series launched in 2013 is a multi-year endeavor under the topic of digital ceramics in the JSLab. I started with a brick because they are an accessible object. Everyone knows what a brick is, but they haven’t changed much for centuries because of how they are manufactured. With the advent of 3D printing, every brick can be unique. This work includes advances in digital technology, advanced geometry, collaboration across disciplines, and material practices in arts, crafts, and design disciplines.3
The first phase of the PolyBrick series features the use of algorithmic design techniques for the digital fabrication and production of nonstandard ceramic brick components for the mortarless assembly and installation of 3D-printed and fired ceramic brick componentry.4 Seeking to achieve a system that required no additional adhesives or mortar, we looked to traditional wood joinery techniques as a means of interlocking adjacent components. We developed a customized tapered dovetail in which the direction and severity of the tapering are dependent upon the local geometric orientation of each component. Combined with technologies from carpentry, PolyBrick 1.0 served as the technical starting point for what has now spanned nearly a decade of development within the PolyBrick series.
PolyBrick 2.0 is generated with the rules, principles, and behavior of human bone formation. In collaboration with Dr. Christopher Hernandez, whose expertise is in the biomechanics of bone, this phase of PolyBrick focuses on the highly adaptive nature of bone to habitual loading and this is particularly present within the cancellous trabecular core of the bone.5, 6 This complex lattice structure undergoes adaptive and cyclic processes of regeneration within its life cycle in response to repeated loading scenarios.7 This constant evolution guided by loading conditions (such as walking, running, or jumping), presents impactful methods and concepts for the design of highly porous, lightweight, and robust brick structures. Bio-inspired methods based on directional load adaptation have led to innovations in tool-path design for robotic 3D printing of complex porous geometries such as adaptive re-thickening through feedback between the digital file, executed tool-path, and printed result.8 These analog bone-informed methods produce variegated bricks that are light and porous at the top of a wall and dense at the base to carry load and maintain efficient structural integrity, while also amplifying material and formal expression.
PolyBrick 3.0
In more recent projects informed by biological systems, we explore the possibilities of living surface architecture through the integration of DNA-steered materials.9, 10 PolyBrick 3.0 takes our material investigations to the micro-scale. Synthetically designed with advanced bioengineering, DNA-steered bricks exemplify the vanguard of biologically informed clay and ceramic building blocks in architecture.11 Building on fourteen years of design research on 3D-printed nonstandard clay components and digitally steered ceramic bricks and assemblies and in collaboration with Luo Labs at Cornell University, PolyBrick 3.0 explores programmable bio-functionalities in our constructed architectural environments through the development of advanced ceramic bio-tiles. These tiles utilize cutting-edge 3D-printed patterning techniques and novel bioengineered hydrogel materials to tune surface conditions and effects at the micro- and macroscales.12 This transdisciplinary work builds on recent advancements in the fields of 3D printing, bioengineering, chemical biology, and architecture to reflect on new questions of adaptive and live materials in architecture through the integration of advanced processes in additive manufacturing in ceramics with cutting-edge research in DNA hydrogel development.13
Synthetically designed with advanced bioengineering, this research uses DNA to design with light where unique signatures fluoresce within the PolyBrick clay body. Our DNA hydrogel stamps operate as an added informational or functional layer, alongside the physical construction of other materials. The unique DNA stamps within the PolyBricks can store environmental information and use fluorescence to communicate back that data to impact both the local environment and inform humans of conditions within their local contexts.
In addition to controlling the emission of light through fluorescence, PolyBrick 3.0 features sensing substrates that respond to the local environment. This refinement utilizes glazing strategies as a directable fluidic device and biocompatible hydrogels as a sensing platform to further developments in responsive built environments. This process includes the production of bulk-scale hydrogel materials, stereolithography-based 3D-printed ceramic tiles, and scalable glazing techniques, which brings the building-scale application of this technology to the foreground.
DNA nanotechnology will open new possibilities for creating nano- to macroscale materials and architectural elements that can dynamically react to environmental cues and interact with biochemical, and even human, reactions. With our unique DNA stamps and glaze, we explore the possibility of living matter and dynamic surface techniques for generating new forms of adaptive architecture. Imagine a tiled wall that not only alerts you to local contaminants in your environment through the emission of light, but also cleans that local air through environmentally responsive biofunctionality.
PolyTile and New Research
Through the development of patterning designed to specifically guide and join DNA hydrogel and ceramic, PolyTile 2.0, a recent development, produced an advanced composite material and multi-step process to produce dynamic, light-responsive ceramic bio-tiles.14 This proven technique first requires the designer to digitally craft (through design software) the surface design of a ceramic tile. The ceramic-hydrogel composite automatically forms dynamic structures within and on the surface of the PolyTiles through the fluidic system composed of glaze chemistry, texturing, and geometry.15
The implications of this process are extensive, as this novel method may allow for an assortment of bio-responsive behaviors and functionalities embedded within PolyTiles.16 This is especially promising given the extent of pre-existing methods for functionalized hydrogels that vary in sensing and responsive ability. This case study on light-responsive hydrogel PolyTiles is a compelling beginning to the series because of the potential impact of light on health, perception, and information.17
Leveraging the complex geometries inherently available in 3D printing, we can embed and respond to multiple layers of data simultaneously, creating forms that can respond locally to global conditions such as structural loading, spatial context, and geometric orientation. Our process for fabrication across the phases of the PolyBrick series also achieves a very high level of material efficiency, creating a minimal amount of waste and requiring no additional materials for the aggregation of parts. The possibility of incorporating differentiated ceramic bricks and modules in architecture through a controlled and mass-customized process that integrates design to production in one linked loop is readily at hand through the PolyBrick prototype series. We have effectively designed a series of strategies for 3D printing ceramic brick assemblies at scales and in DNA-steered materials well beyond the existing constraints of additive manufacturing technology. The PolyBrick series continues in my lab through funded research projects where we are innovating the development of living glazes on custom ceramic architectural tiles to mitigate the local environment of contaminants such as formaldehyde.
In 2001, I decided to stop my artistic practice in ceramics, and I moved out of my studio space in Ballard, a former fishing village in Seattle, Washington, to focus on a night course I was taking in physics, my last requirement to apply to graduate programs in architecture. Little did I know that my dual interests in science, architecture, design, making, and technology would find the perfect grounding substance in clay.
1 The Printed Pot by Mark Ganter, Duane Storti, and Ben Utela, Ceramics Monthly, 2009.
2 Sabin, Jenny. “Digital Ceramics: Crafts-Based Media for Novel Material Expression & Information Mediation at the Architectural Scale,” 174–82. New York, USA, 2010. https://doi.org/10.52842/conf.acadia.2010.174.
3 Sabin, Jenny E., Martin Miller, Nicholas Cassab, and Andrew Lucia. “PolyBrick: Variegated Additive Ceramic Component Manufacturing (ACCM).” 3D Printing and Additive Manufacturing 1, no. 2 (June 2014): 78–84. https://doi.org/10.1089/3dp.2014.0012.
4 PolyBrick 1.0 by Sabin Design Lab, Cornell University. Jenny E. Sabin (PI) with Martin Miller and Nick Cassab, 2012-2014.
5 Birol, Eda Begum, Yao Lu, Ege Sekkin, Colby Johnson, David Moy, Yaseen Islam, and Jenny E. Sabin. “POLYBRICK 2.0,” 222–33. Austin (Texas), USA, 2019. https://doi.org/10.52842/conf.acadia.2019.222.
6 PolyBrick 2.0 by Sabin Design Lab, Cornell University, 2019-2022. Jenny E. Sabin (PI) & Christopher Hernandez (Co-PI) with Eda Begum Birol, Yao Lu, Ege Sekkin, Colby Johnson, David Moy, and Yaseen Islam.
7 Lu, Yao, Eda Begum Birol, Colby Johnson, Christopher Hernandez, and Jenny E. Sabin. “A Method for Load-Responsive Inhomogeneity and Anisotropy in 3D Lattice Generation Based on Ellipsoid Packing,” 395–404. Bangkok, Thailand, 2020. https://doi.org/10.52842/conf.caadria.2020.1.395.
8 Birol, E.B., C.J. Hernandez, J.E. Sabin. “PolyBrick 2.0: Design and Fabrication of Load Responsive Structural Lattices for Clay Additive Manufacturing.” Fifth International Conference on Structures and Architecture (ICSA2022, Aalborg, Denmark, 6-8 July 2022).
9 Rosenwasser, David, Shogo Hamada, Dan Luo, and Jenny E. Sabin. “PolyBrick 3.0: Live Signatures through DNA Hydrogels and Digital Ceramics.” International Journal of Rapid Manufacturing 7, no. 2/3 (2018): 203. https://doi.org/10.1504/IJRAPIDM.2018.092909.
10 Pardo, Yehudah A., Kenneth G. Yancey, David S. Rosenwasser, David M. Bassen, Jonathan T. Butcher, Jenny E. Sabin, Minglin Ma, Shogo Hamada, and Dan Luo. “Interfacing DNA Hydrogels with Ceramics for Biofunctional Architectural Materials.” Materials Today 53 (March 2022): 98–105. https://doi.org/10.1016/j.mattod.2021.10.029.
11 PolyBrick 3.0 by Sabin Design Lab, Cornell University, 2018-current. Jenny E. Sabin and Dan Luo (Co-Principal Investigators) with David Rosenwasser, Shogo Hamada, and Yehudah A. Pardo.
12 Cohen, D.L., Malone, E., Lipson, H., and Bonassar, L.J. (2006) ‘Direct freeform fabrication of seeded hydrogels in arbitrary geometries’, Tissue Eng., No. 12, pp.1325–1335.
13 See also Jenny E. Sabin, “PolyBrick 3.0: DNA Glaze and Digital Ceramics,” in Experimental Architecture: Designing the Unknown, Rachel Armstrong, ed. (London: Routledge, 2019), 77–79.
14 Zhang, Viola, David Rosenwasser, and Jenny E Sabin. “PolyTile 2.0: Programmable Microtextured Ceramic Architectural Tiles Embedded with Environmentally Responsive Biofunctionality.” International Journal of Architectural Computing 19, no. 1 (March 2021): 65–85. https://doi.org/10.1177/1478077120932421.
15 Ibid, 16.
16 Ibid, 16–17.
17 Ibid, 17.
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