A Mobius Process - Digital Dimensions by Emrecan Gulay

Section title 1 

Digital Dimensions 

by Emrecan Gulay

2 Digital Dimensions

CSA Research Report 

3 

Project Details 

Project Lead: 

Design Participants: 

Emrecan Gulay 

UCA MA Architecture, 

Sam Mc Elhinney , MUD Architecture 

David Di Duca, BAT Studio, London 

Title: 


Type: 

Public Installation 

Location: 

UCA Canterbury, Kent/United Kingdom 

Project Dates: 

4 July - 25 August 2016 Show Build 

26 August 2016 Structure open to public 

Design Period: 27 May - 30 June 2016 

Budget: £450 

Support: 

Arpandora AR-VR. New York


Section title 5

6 Digital Dimensions 

Research Agenda and Process 

Overview 

Among architects and designers there’s a wide spread curiosity why 

curved structures appear more aesthetcially pleasing than structures 

consisting of steep, cornered geometries. Many years of neuroscientifical 

experiment revealed that unlike cornered Euclidian geometries, 

curved geometries give people a sense of security and a lack of 

threat (Hildebrand 1999). In this research my aim was to discover the 

relationship between digital and analog design , testing and manufacturing 

to construct complex loop structures made from laminated 

plywood strips. 

The final installation will be completed by the technical information 

extracted from physical and digital testing methods. By bridging the 

gap between man-made models and digital interpretations, this work 

is ellaborating the influences of this collaboration on overall aesthetic 

quality of the design. The goal is to construct complex curved extent 

that people can interact and explore. 

Research Questions 

1. What are the impacts of the technical information obtained by 

three dimensional scaning or algorithmic translation the physical 

model on the final built structure ? 

2. Can we improve the overall quality of design by the information 

extracted from tactility of physical models and manipulability of 

Virtual Reality simulations? 

3. By bridging the gap between physical and digital design techniques 

,can linear displaced curve surfaces alter people’s cognitive 

processes of vision to generate aesthetically pleasing architectural 

spaces? 

Fig.01 (previous page) 

Plywood Installation 

drawings - UCA 

Canterbury

Research Statement 

7 

Significance and Contribution 

This research uses the reverse engineering method on linear displaced 

curve surfaces to develop a loop that is extracting both physical and 

digital feedback to extend the boundaries of the design. 

For some designers a ‘flat’manipulation of surfaces on a computer 

screen can provide significant spatial information. However, it may 

be lack of the direct tactility of a physically built model. The process 

of translation from physical realm to digital realm, can create a digital 

representation of a physical geometry which can be manipulated and 

tested beyond its formal boundaries. 

The experimentation processes included in this report anatomize 

physical prototyping and digitizing techniques which have significant 

influances on our visual interpretation of curved surfaces. 

Methodologies 

1. A series of physical prototyping experiments and Virtual Reality 

simulations to observe people’s visual experiences within a spatial 

composition consisting of linear displaced curve forms. 

2. Extracting and testing technical knowledge learnt from the physically 

built model and re-interpretting it on the digital platform to 

reproduce various designs. 

3. Inverting the relationship between digital information and physical 

object by three dimensional scanning to manipulate the forms. 

4. Conducting tests with Virtual Reality on various test subjects to 

observe the cognitive effects of digitally manipulated three dimensional 

scan. 

5. Testing various fabrication and computation techniques such as; 

Plywood laminating, laser cutting and engraving, 

three dimensional and laser scanning , gluing and cross stitching, 

parametric modelling with physics simulations, AR-VR simula-


Design Proposal 

I’m proposing to construct a 

complex loop structure attached 

to the ceiling which people will 

be able to interact physically and 

visually. This ligthweight plywood 

structure will provide people an 

experience of complex curvature 

extent that is the final product of 

a carefully developed digital and 

physical feedback pattern. 

Each piece of plywood stripe 

is designed individually and 

engraved by laser cutter from 

their lamination joints to fit 

perfectly on eachother. Pieces 

are laminated to eachother by 

applying a Polyeurathane glue. 

The edges bond by cross stitching 

method with a strong fabric or a 

synthetic nylon material to allow 

the structure to flex and distribute 

the tension equally. 

Laminated plywood is being bent 

by a high density heat exposure 

from a heat gun. The complex 

loop extent will be creating a 

circulation an interaction pattern 

within the space it is installed. 

This structure can be deployed 

in any interior environment. It’s 

a light-weigth and rigid structure 

that can provide an enjoyable 

spatial environment. 

Key technological outcomes of proposal 

1. The development of detailed fabrication techniques through laser-cut 

Plywood bending; heating, molding and rapid manufacturing 

of plywood layers. 

2. Developing an innovatine plywood lamination technique to obtain 

rigid and flexible joints. 

3. Advancing Virtual Reality simulations for OCULUS Rift and 

Google Cardboard viewers. 

4. Development of Algorithmic modelling and physics simulation 

on Rhino 3D by Grasshopper and Kangaroo plugins. 

5. Exploration of different three dimensional scanning technologies 

; laser scanning, image based scanning. 

Fig.02 (right) 

VR simulation created from the 

three dimensional laser scanned 

point cloud data

Proposal & Context 

9 

Design Research Context 

Field of Work 

The process reffered as ‘reverse 

engineering’ is being used by 

various architects. Then aim of this 

method is to subsequently extract 

feedbacks from the physical and 

digital models to improve the 

overall design. 

The project uses 

references ranging from Nick Dunn’s 

research on Digital Fabrication 

(2012), Su Bu-quin and Liu Dingyuang 

on Computational Geometry 

(1989), Grant Hildebrand on the 

origins of architectural pleasure 

(1999). A groundbraking research 

done by Darthmouth College on 

nature referenced architectural 

elements and another reseach 

conducted by Harvard University 

on cognitive effects of curve 

surfaces are also originating the 

foundation of this project. 

Work by others 

There are various works in 

the field including scientific 

research, technological, artistic 

and mathematical explorations. 

To explore and test the impacts 

of computational geometry on 

human perception, the first virtual 

reality experiment OSMOSE was 

conducted . 

Reverse engineering method 

was used by Frank Gehry. His 

world famous projects were 

being developed by building 

models and applying the physical 

feedback to the digital platform. 

He believed tactility of a physical 

model cannot be ignored while 

developing a project.


Design Methodologies 

Exploring 2 mm plywood 

lamination methods and 

experimenting with wood surface 

heat-bending; this process 

derived rapid prototyping 

methods and created an 

understanding of the physical 

behavior of materials under high 

levels of compression or tension. 

The knowledge that is gained 

from these experiments 

embodied various structural ideas 

and rationalized the geometries. 

After this point in the research, 

an exhaustive experimentation 

was required to test digitization 

processes of the physically built 

plywood structures. Experiments 

performed on three dimensional 

scaning devices originated a 

testing system which allows 

manipulations on Point Cloud 

data following a simulation on 

Virtual Reality. 

Lastly, to bridge the processes 

between making and digitizing 

an algorithmic 3D model has 

been developed. This model was 

beneficial to generate a physics 

simulation and testing the loop 

structure before going under 

rapid manufacturing. 

Critical Design Elements 

1. Heat bent 1.5 mm Plywood sheets, clean-cut by laser cutter. 

2. Engraving and sanding plywood for lamination. 

3. Cross stitching edges. 

4. Individual designs for each plywood stripe. 

5. Scaning the physical model with various 3D scanners. 

6. Transforming physical model into an algorithmic computer model.

Process & Methods 

11 

Prototyping and testing 

One of the most challenging 

part of the project was, finding 

a rapid prototyping and 

laminating method to produce 

linear displaced curve plywood 

surfaces. Each plywood sheet 

had to be fitting perfectly to each 

other and the lamination method 

had to give a certain amount 

of flexibility on the structure to 

prevent fractions under stress. 

Along with the technical aspects 

of the physical model, lamination 

joints and edges also needed to 

be designed to be a part of the 

concept and design elements. 

After weeks of material testing an 

optimal solution was obtained. 

a. Rapid Prototype Testing 

Five A1 size thin plywood sheets 

were laser cut and engraved to 

obtain an optimal length linear 

surface to be transformed into a 

displaced curvature. 

b. Overlapping and Binding 

Each plywood piece was carefully 

overlapped on each other from 

the engraved joints. In between 

layers a polyeurathane wood glue 

was applied and let to dry for 30 

minutes. Right after they cling to 

eachother the joint edges were 

cross stitched. 

c. Heat Bending 

After securing the structure 

and developing a linear form, 

laminated plywood bent manually 

within its flexibility threshold. 

Stabilized shape was exposed 

to a heat till the wood becomes 

pliable enough. The upper edge 

piece embed and fixed into the 

linear laser cut opening. 

d. Cross-stitching Edges 

Edges between the laminated 

surfaces fixated to each other 

by cross stitching with a flexible 

fabric material. It holds structure 

and allows it to flex under tension. 

Cross-stitching was applied 

through laser cut and accurately 

placed circle cavities over the 

Fig.03 (left) 

Small scale model heat 

bending testing

12 Process Diagram 


Fig.13 

Process Diagram

Process Diagram 

13 

Fig.13 

Process Diagram


04a 

04d 

04b 

04e 

04c 

04f


15 

04g 

04j 

04h 

04k 

04i 

04l


05a 

05b 

05c


17 

05d 

05e 

05f


05a 

05b


19 

05d 

05e 

05f

20 Process & Methods 


04h 

04k 

04i 

04l


Fig.06 (left) 

OCULUS VR testing 

with the manipulated 

form.


05a 

05b


23 

Fabrication Techniques 

a. Plywood Sheet 

Plywood is a rigid and lightweight 

material and its flexibility 

allows us to build complex 

curvature surfaces. Despite it’s 

a thin sheet material, when each 

piece combined to each other 

it produces remarkably firm 

structures. 

b. Laser Cutting 

Working with laser cutters 

reduced the time of prototyping 

the design elements and provided 

a rapid production order. Edges of 

the cut pieces engraved lightly to 

set each piece accurately on one 

another. On the other hand, it was 

much quicker and precise to set 

the stitching holes than drilling. 

c. Cross Stitching 

One of the challenges of building 

a linear siplaced curve surface 

was to figure out how to connect 

the curved edges in the most 

aesthetical way possible. Cross 

stitching was an efficient and 

appealing way to bind the edges 

together. #reverse


09a 

09d 

09b 

09e 

09c 

09f


25 

Various technical and digital control system has 

been integrated to the project such as; 

Computer based algorithmic manipulation 

system within the physical constraints of 

plywood. 

Plywood lamination tests which enables 

consturcting larger scale complex structures. 

Connecting two components to eachother with 

flexible ropes to establish a structural stability 

and a continuous twisting surface. 

a. Rapid Manufacturing 

2mm thick A1 plywood sheets laser-cut based on 

construction details. Each piece was designed 

individually to be a subsequent element of the 

installation. 

Control Systems 

b. Fixing and Laminating 

Plywood strips have their own individual 

fixing details to be able to fit on 

eachother accurately. Engraved rough 

surfaces create a stronger grip for the 

Polyeurathane glue and it reduces the 

protrusions on the curved surface. To 

connect two plywood structures and 

maintain stability flexible fabric ropes was 

used as a part of the design which also 

creates a continuous semi-transparent 

surface. 

c.Algorithmic Manipulation 

Plywood strips has been modeled piece 

by piece to establish a control system 

for geometrical manipulations. As seen 

on Fig.10 each algorithm is representing 

an individual strip of plywood. This 

control mechanism provided opportunity 

to improve the quality of design and 

to increase overall complexity of the 

installation. With the information gained 

from this process an improved version of 

the model has built. 

d. 3D Scanning Tests 

Laser and photography based 3D 

realtime scanning technologies has 

tested to transform the physical model 

to a digital model. Digitized model is 

manipulated into a bigger scale and 

tested on VR. 

Fig.09-10-11 (far left) Algorithmic 

manipulation. 

Fig.12-13 (left)Final installation 

engraved and laser-cut pieces 

before lamination.



Fig.11 

Speculative occupation 

drawing

28 Process & Methods 

Digital Dimensions


Occupation and Interaction 

Within the installation site, 

visitors will be able to observe the 

fabrication details by physically 

and visually interacting with 

the complex plywood structure. 

People will comprehend the 

relationship between analog 

and digital design ,testing and 

manufacturing. The aim is to 

create a space which will arouse 

curiosity and a motive for a 

pleasing aesthetical exploration. 

An additional algorithmic VR 

simulation of the structure will 

be beneficial for people to 

understand the transformation 

processes of digital information 

to a physical realm. Simulation 

will give people a chance to 

interact with the structure in a 

virtual dimension. 

Engraved plywood lamination 

method performed succesfully on 

constructing complex structures. 

The construction techniques 

which are developed within the 

manufacturing process can be 

scaled up and be applied to any 

architectural scale.

30 Occupation and Interaction 


Fig.12 

Interaction 

Drawing 

Elevation

Review of Outcomes 

31 

Dissemination and Future Work 

This work will take part in various exhibitons including UCA MA 

Show 2016. A publishing report will be sent to academic publishers 

within the subjects of digital fabrication, reverse engineering, 

architecture, interior architecture and virtual reality simulations. The 

project will anatomize the collaboration between analog and digital 

design methods, and how this method can be applied to a variety of 

concepts. 

This work conveys a considerable knowledge about manufacturing 

and digitizing lightweight, complex structures. My wish is to improve 

my project to make a conbtribution for exciting technological 

enhancements within the architectural practice.


05b 

05a 

05c 05b 

05d


Fig.15 (left) 

First testing with the 

improved lamination 

technique.


Materials and Suppliers List 

Plywood (from Timberite, Canterbury, 01227 765011) 

KOSKISEN plywood sheets ,1.5mm 3 Ply BR/BR EXT 1631 

www.koskisen.com Made in Finland 

Fabric (from Crafts & Home, Canterbury) 

30 m Back Color Elastic fabric rope 

Polyeurathane Wood Adhesive 30M (from Timberite, Canterbury, 01227 

765011) 

750g 30 minutes 52489

Appendix 

35 

Bibliography 

Nick Dunn (2012). Digital Fabrication in Architecture. London: Laurance 

King Publishing Ltd. . 124-125. 

Grant Hildebrand (1999). Origins of Achitectural Pleasure. London, England: 

University of California Press Ltd.. 15-72. 

Vollers, K. (2001).Twist & build. Rotterdam: 010 Publishers, 91-117 

Kolarevic, B. (2003).Architecture in the digital age. New York, NY: Spon Press.


Section title 37


Section title 39


Credits 

MA Architecture Course Leader: 

Sam McElhinney, MUD Architecture 

MA Architecture Design Tutor: 

David Di Duca, BAT Studio 

Will Alsop, All Design 

Hanif Kara, AKT II 

Jonty Craig - BAT Studio 

Alper Guler - Arpandora AR-VR 

Gem Barton - University of Brighton 

Jon Hodges - Bare Conductive 

Guy Woodhouse - Piercy & Co. 

Charlotte Bocci - Ian Chalk Architects 

David Lomax - Waugh Thistleton Architects 

Fiona Zisch - University of Westminster 

Clemens Plank - University of Innsbruck 

James Whitaker - Whitaker Studio 

Kevin Kelly - Pringle Richards Sharrat 

Tetsuro Nagata - Nissen Richards Studio 

Elizabeth Upham - MUD Architecture 

Ruth Lang - Studio ARG 

Shumi Bose - Blueprint 

Verity Jane Keefe - The Mobile Museum

Section title 41

A Mobius Process - Digital Dimensions by Emrecan Gulay

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