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Molecular Tectonics

Molecular Tectonics

Computational Design and Fabrication of Nodeless Weaire-Phelan Polyhedral Structure

Author: J Liu, YC Lee, D Cardoso

Publication: International Journal of Architectural Computing 20, no.3, 2020

This project introduces an approach to the computational design and fabrication of complex polyhedral structures that takes advantage of both parametric flexibility and modular logic, and is suitable for rapid prototyping. The methods presented codify material, geometric, and mechanical constraints in a flexible language of design components that forms the basis of a generalizable material and device- specific design system. Extending the geometric and tectonic possibilities of flat- cut assemblies, our approach resolves local deformations through an adaptive joint design, and facilitates processes of bottom-up design exploration which advance in parallel with their tectonic resolution. We illustrate our approach by documenting the system’s computational and material logic, a series of prototypes, and a full- scale installation based on the Wearie- Phelan structure, an aperiodic space-filling geometric construct that approximates the geometry of foam.

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Hybrid Embroidery

Hybrid Fabrication

The research proposes an interactive fabrication framework for designers to engage with traditional craft – embroidery. The system includes a CNC embroidery machine, computer vision framework, and algorithms that could generate machine output in different degrees of predictability. The goal of this framework is to explore new ways for designers to engage with materials and mediates social interaction thorough interactive fabrication. Further, I would like to provide a medium for people to revisit this feminine crafts and trigger critical thinking on the impacts that computation bring to the textile fabrication

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Morphlour

Morphlour

Personalized Flour-based Morphing Food Induced by Dehydration or Hydration Method

Author: Ye Tao, Youngwook Do, Humphrey Yang, Yi-Chin Lee, Guanyun Wang, Catherine Mondoa, Jianxun Cui, Wen Wang, Lining Yao

Publication Link

Proceedings of the 32nd Annual ACM Symposium on User Interface Software and Technology

 

Abstract

In this paper, we explore personalized morphing food that enhances traditional food with new HCI capabilities, rather than replacing the chef and authentic ingredients (e.g. flour) with an autonomous machine and heterogeneous mixtures (e.g. gel). Thus, we contribute a unique transformation mechanism of kneaded and sheeted flour-based dough, with an integrated design strategy for morphing food during two general cooking methods: dehydration (e.g. baking) or hydration (e.g. water boiling). We also enrich the design space of morphing food by demonstrating several applications. We end by discussing hybrid cooking between human and a design tool that we developed to ensure accuracy while preserving customizability for morphing food.

Design library and experimental examples

(a) A single set of grooves on a 2D sheet through (a1) dehydration and (a2-4) hydration process. (b) Multiple sets of grooves on a 2D sheet through (b1) dehydration and (b2-4) hydration process. (c) Multiple sets of grooves on a 1D line through hydration process. All the samples were made of semolina flour except for the b1 sample which is made of oat fiber with tomato.
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Useless but Fun

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Lizzee Feeds America

Lizzee Feeds America

Yi-Chin Lee, Matt Prindible, and Lizzee Solomon

More detail on Human-Machine Virtuosity blog post: https://courses.ideate.cmu.edu/16-455/s2019/1296/prepare/

The capacity to explore physical artistic work in abstraction through digital transformation and fabrication is conceptually simple, but technically challenging. Our “machine-in-the-loop” workflow is comprised of a laser scanner to generate a point cloud of the artist’s sculpture, software to create a watertight mesh of that point cloud, parametric design software to procedurally transform the mesh, a slicing tool for generating toolpaths for severely damaged 3D models, a 3D printer capable of working through tooling errors, and a vacuum form table to prepare the final model. The tool of intervention for our artist was air drying clay and Super Sculpey in addition to some basic sculpting tools. An oven was also involved. We used this workflow to generate a series of machine “responses” to the artist’s sculpture. The artist then created a response this response. And so on. Our goal was to enable to “dialog” between the artist and machine that helped the artist explore unexpected shapes and gestures. Our technical exploration was successful and, based on this functional experimental workflow and a conversation with our artist, our artistic exploration was also successful.

Hybrid Workflow

Hotdog Collection

Dinner Table Setting

table setting showing the hotdog evolution
Lizzee’s respond
Lizzee’s respond
hotdog slice as side meal

Precedent and cited work

Three pieces of existing work were referenced early and often throughout the process. Robin Sloan’s Flip Flop, Navaneeth R Nair’s Wave-form, and Geoffrey Mann’s Cross-fire. As well as a million YouTube tutorials.

The ultimaker clip in deom video is cut from the ultimaker official wesite
https://www.youtube.com/watch?time_continue=11&v=otmmihz3Gq8

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Reshaping Contour

Reshaping Contour

Exhibition Curation Project, 2018

Yi-Chin Lee, Yixiao Fu

Fashion is an imaginary that extends the body. It shows how people today perceive the possible future appearance of the body, and how that relates to our identity. Metropolis opens up the designer’s desire to depict the future body. Alexander McQueen, Iris Van Herpen, Nicolas Ghesquière, and Thierry Mugler are pioneers who push the boundary toward the unknown. Artificial intelligence offers various perspectives for reshaping the body through fashion. CUTECIRCUIT, IBM Watson, Project Muze, Sophia, and Viktoria Modesta demonstrate the mutual influence between fashion and technology. Presenting such trends, this exhibition documents changes, while at the same time reflecting on identity in this new era.

Bibliography

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Body Movement

Body Movement Research

Yi-Chin has always been interested in observing the human body’s movement; everybody has their habit and body behaving differently, which makes each of us unique. The experimental film that present sequencing motion inspired this research and visual outputs. The concept of a series of works is to record body movements and transfer them into unique sculptures via computational design methods. Final productions presented in different media, including video, interactive postcards, and 3D printed models.

Jewelry Customization Platform, 2018

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Digital Fabrication, 2017

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Pattern Animation X MovICollect, 2016
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Ballet and Mutimedia, 2016

MovIPrint: Move, Explore and Fabricate

Author: Yen-Ting Cho, Yen-Ling Kuo, Yen-Ting Yeh, Yi-Chin Lee

Collaborate with YENTING CHO Studio

Publication Link

Proceedings of the 27th ACM International Conference on Multimedia

MovIPrint is a user-friendly, interactive installation that uses software and a depth-sensing camera to capture human body movement. After inputting digital data such as images or video into the software, MovIPrint offers people innovative and user-friendly ways to explore that data by manipulating it with their body movement. We use media content and/or wireframe design to enable people to then fabricate their own moving images and 3D digital models.

The work uses full body movement for computational fabrication to present invisible information through visible body movement. As the accompanying video demonstrates, the body becomes a force to create form. The resulting work is two digitally-printed sculptures that show very different force fields from the movement created by a dancing human body.

Each sculpture comprises two structural layers. The first sculpture is a combination of contoured surface and thin curved tubes, and the second sculpture integrates a contoured surface with triangulated tubes.The first sculpture shows the spatial differences between the body and the energy fields that surround the moving body. The contoured surfaces are directly formed by the movement of the dancer, while the thin curved tubes represent the energy fields which are created by using the mathematic control points of the abstracted geometric body shape of the dancer.The second model was created by exploring the rate of time sampling. As with the first model, the contoured surface is based on actual dance movement without compression. Triangulated tubes are, however, created as a result of surreal time compressions from the same dance movement. Both layers synchronize the beginning of the dance; therefore, the final sculpture presents the ambiguous relationship between the visible and invisible, semi-connected and detached from each other.

Solidified Moment

Capture Body Movements

3D Stereolithography Printing Object

Exhibited in 2017 Taiwan Design Expo. Pattern, Object, Movement Exhibition

Pattern Animation

Pattern Source

We use MovISee platform to transfer the color from Taiwan traditional temple

Wireframe

To fabricate the information disrupted by body movement, researchers use geometric shapes to create a repetitive wireframe.

Frames

After filling in pieces of disrupted information, the results reveal the sedimentary relative movements through filming and body interaction.

Sleeping Beauty

Yi-Chin created an animation by combining ballet and programming base on waltz, Sleeping Beauty. She studied the ballet dancer’s movement and used Processing to program the geometry shape morphing with the body movement. She like the rhythm, and the logic within the dancing, the repetitive patterns of the human body structure makes her calm. Therefore, Yi-Chin did lots of sketches on what kind of structure matches with ballet and the sequence she wants to present through ballet.

In this project, the body movements were captured by a depth camera. All the body skeleton transferred into coordinates so that the designer could control the date and produce the animation through Processing. In the sketch process, Yi-Chin tried to create a human skeleton in a different posture and connected the joints to make the possible geometric pattern. In the final animation, she designed the aesthetical shape morphing sequence that follows the music and the dance.

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Robotic Fabrication

Robotic Fabrication

Human-Robot Interaction research in manufacturing process

Interactive digital fabrication in creative process

Robotic fabrication experiment

Concrete Surface Finishing

Ongoing research conducted at the School of Architecture at Carnegie Mellon University, here presents the robotic fabrication process of this research.
Advisor: Joshua Bard

In this ongoing research, the research group has proven that the Profile 3D printing concept can be used for successfully fabricating complex 2.5D geometries. However, the technology is still at the experimental stage and far from mature for industrial scale mass production. Funded by a grant from the Manufacturing Futures Initiative, the project group continues to strive towards creating an industry-ready technology demonstrator.

Concept sketch of the final version of the robot cell: The work table is monitored by a 3D-scanning device, which detects errors in the panel geometry. An overhead projector overlays the information on the panel, guiding the operator in real time

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Evaluating surface quality
Experiment result

Lizzee Feeds America

Interactive Digital Fabrication in Creative Process

Yi-Chin Lee and Matt Prindible, collaborate with Pittsburgh local artist, Lizzee Solomon.

More detail on Human-Machine Virtuosity blog post: https://courses.ideate.cmu.edu/16-455/s2019/1296/prepare/

The capacity to explore physical artistic work in abstraction through digital transformation and fabrication is conceptually simple, but technically challenging. Our “machine-in-the-loop” workflow is comprised of a laser scanner to generate a point cloud of the artist’s sculpture, software to create a watertight mesh of that point cloud, parametric design software to procedurally transform the mesh, a slicing tool for generating toolpaths for severely damaged 3D models, a 3D printer capable of working through tooling errors, and a vacuum form table to prepare the final model. The tool of intervention for our artist was air drying clay and Super Sculpey in addition to some basic sculpting tools. An oven was also involved. We used this workflow to generate a series of machine “responses” to the artist’s sculpture. The artist then created a response this response. And so on. Our goal was to enable to “dialog” between the artist and machine that helped the artist explore unexpected shapes and gestures. Our technical exploration was successful and, based on this functional experimental workflow and a conversation with our artist, our artistic exploration was also successful.

Hybrid Workflow​

Hotdog Collection​

Dinner Table Setting

table setting showing the hotdog evolution
Lizzee’s respond
Lizzee’s respond
hotdog slice as side meal

Precedent and Cited Works

Three pieces of existing work were referenced early and often throughout the process. Robin Sloan’s Flip Flop, Navaneeth R Nair’s Wave-form, and Geoffrey Mann’s Cross-fire. As well as a million YouTube tutorials.

The ultimaker clip in deom video is cut from the ultimaker official wesite

Robotic Wire Winding

Course project : Introduction to Architecture Robotic, School of Architecture, CMU, 2018 Fall

Team : Yi-Chin Lee, JoonYong Choi, Kyle Bancrof

Instructor: Ardavan Bidgoli

In this project, we tended to use the industrial robot to do the wire winding. Manual wire winding needs lots of effort, and the form is hard to control due to the material properties. By manipulating the robot and router table, we produced the wire winding unit, and it could finally assemble into space scale room partition. The work includes research the wire winding technique, program robot to move in a specific pattern, design the end of arm tool for the robot, design the work object,  integrate each element into the workflow and design the final products.

Tool design

The most significant part of the wire feeding tool is how to keep the tension of the wire and prevent it from rotating backward. To solve this problem, we designed a ratchet to control the proper tension needed for the whole workflow.

Work Object Design

The critical part of the module is the connection between each module. Therefore, if the design of the module includes the connection in any way, the geometry of the module can be quite various. The work object is designed to consider such aspect of module design which enables the diverse design exploration. We designed the different shape of small panels that can be layered to create objects where the wire can be bent and form a certain shape.

Final outcome
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Origami Research

ORIGAMI RESEARCH

Origami research started with interest and gradually became a two years research project. Yi-Chin tried to find the gap that could form a research objective through folding practice and contextual review. In the beginning, she folded various structures to understand the principle and possibility of this craft. The research presented in a series of works about different origami modules and structuring methods. All the developed origami modules can build spacial structures and apply 2.5D pattern on the surface to mediated space dynamic.

Spiky Family

OrigamiTube

During the exploration of origami application, Yi-Chin found out the studies of origami tube, which is based on Miura structure. Origami tube obtained the feature of original origami structure but also reinforced the structure itself by forming the tube system. She discovered that, the space created by joining two pieces of origami sheets provides a chance to develop a modular object. The characteristic of the modular object gives origami an opportunity to become a self-supported system.

Module Variation

The connection was one of the features of origami tube, and this feature triggers me to develop serials of modular objects based on origami structure. Yi-Chin added an extra self- supporting base to make the structure self-standing. In the end, I created a family of modular origami structures by form variation. Each shape is slightly different, and after the combination, the structures can function differently.

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Chevron Wall

Modular Weaving Partition
The origami unit was able to freely form the curvature and deliver a feeling of logic rhythm. Yi-Chin used grasshopper to simulate the possibilities of the space layout. When building the space scale pavilion, she applied traditional mould process to produce folding crease on each flat unit. After folding, each module unit were woven together by the paper street and finally forming a space.

Basic Chevron Unit

Stacking

Mortise

Weaving

X-Units

Folding Curtain
The project name ‘X-unit’ refers to the creasing pattern of the final design. The folding unit was inspired by ‘waterbomb’ folding. With this project, the origami structure was broken down into the smallest unit and then the assembling method was explored. Translucent polypropylene was chosen as the final material, and moulded to produce a creased pattern. The unit can be assembled into an irregular form; it is therefore very suitable to act as the curtain in this exhibition, allowing natural light to shine in to the exhibition space.

Module Variation

Form Morphing

Customized mold for mass production
The Pattern, Object, Movement exhibition in NCKU Art Center, 2017 Taiwan Design Expo.
Exhibited in 2017 Taiwan Design EXPO