Spatial Design & 3D Modelling : Final Assignment

10/11/2023 - 05/01/2024 / (Week 7- Week 14)
Naura / 0356798 / Interactive Spatial Design
ISD60104 & MMD60804 / Spatial Design & 3D Modelling
Final Assignment

INSTRUCTIONS

Final Assignment: Design Development (40%)

To Develop the chosen design concepts further to achieve more intricate and holistic solutions.

Deliverables:

1. Study space metaverse
2. Metaverse Presentation on Week 13

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WEEK 7 - 10/11/23

Based on the feedback and results from assignment 2, I have decided to move forward with floor plan 3.

Fig 1.1 My floorplan from assignment 2

I initiated the design process by focusing on the exterior of the structure, drawing heavy inspiration from iconic Greek architectural masterpieces such as the Temple of Zeus and Apollo, as well as the Pantheon. Their grand columns, intricate friezes, and formidable pediments deeply influenced the aesthetic elements I incorporated into my project, aiming to mirror the majesty and timeless beauty characteristic of ancient Greek architecture.

The overall exterior of the building is inspired by Olympus, which is known as the mythical gathering place of all gods in Greek mythology.

Fig 1.1 The exterior of the temple

Fig 1.2 The interior of the temple

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WEEK 8 -  17/11/23

During this independent learning week, I've dedicated my time to further developing the exterior of my Greek mythology-themed study space. 

I also took on the task of creating Greek pottery vases in Blender. This process involved several steps to ensure the vases had an authentic look and feel.

Fig 2.2 Making the overall structure of the pots

Fig 2.3 Adding textures to the pot

Fig 2.4 Making it more metallic-y by adjusting the metallicness

Fig 2.5 All the pots, textured, baking loutrophoros

For the textures used in my Greek myth study space, I sourced them from the internet. This approach provided a wide range of options, allowing me to find textures that closely match the aesthetic and historical accuracy I aimed for in the project. 

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WEEK 9 - 24/11/23

This week, I was trying to gain some hands-on experience in sculpting within Blender. For my project, I've decided to try my skills in crafting a digital representation of the formidable Greek goddess Athena.

In Blender's Sculpt Mode, I've used different special brushes to shape her. The Draw Brush helped me make her basic shape, like starting with a block of clay. The Clay Brush added volume to her body, while the Crease Brush made sharp lines and detailed features. The Smooth Brush smoothed things out, the Inflate Brush made things puffy, and the Pinch Brush made edges crisper. I used the Grab Brush to move parts of her like I was grabbing and pulling them. I try to capture her strength and wisdom in the digital world with these tools.

Fig 3.1 The Overall Statue

Fig 3.2 Athena's Wireframe

I recognize that many minor details could have been added to refine the sculpture of Athena, but overall, I'm satisfied with the outcome.

Furthermore, when I attempt to export the exterior to Spatial.io, I encounter issues. It seems like some of the edges and faces of my design are missing in the export. This problem is likely due to the high level of detail I've tried to incorporate into the design. It appears I may need to simplify some aspects of the design or find a way to optimize the model for a more successful export.

I'm also exploring the use of Unity, as apparently, Spatial.io has a support system for it. This integration could potentially provide a solution to the issues I'm facing with exporting my detailed Greek myth study space. Unity is known for its robust 3D rendering capabilities and might be better suited to handle the complex details of my design, like the intricate Olympus-inspired elements. By utilizing Unity's powerful tools and compatibility with Spatial.io, I hope to successfully transfer the complete design with all its rich details and architectural elements, ensuring that none of the edges or faces are missing in the final presentation. This approach could be the key to bringing my immersive, mythology-themed study space to life in the virtual environment.

Fig 3.3 Watching the tutorial on how to use the creator toolkit that involves Unity software

Here is the link to the toolkit I found: https://docs.spatial.io/

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WEEK 10 - 01/12/23

In the lesson, Mr. Max advised that we should focus more on the interior, as that is where the study space is primarily located. He mentioned that concentrating on the interior would lessen the burden of having too many faces or requiring excessive storage when uploading the project to Spatial.io. This guidance came as quite a disappointment to me, especially since Greek mythology is renowned for its grand architecture. The exterior design, inspired by the majestic architecture of Olympus, was a significant part of my vision. However, understanding the practical limitations, I am now compelled to pivot and start entirely on the interior. This means reimagining the space to capture the essence of Greek mythology within the confines of the interior, ensuring that the mythological themes are well-represented, albeit in a more confined space.

Fig 4.1 My initial artefact room, where the gods' relics will float on top of the columns

I'm facing an unexpected technical issue – the SDK file for Spatial.io isn't opening in Unity, even the starter file. This is a puzzling setback since integrating Unity was part of my plan to enhance the project. It seems like there might be compatibility issues or other technical glitches preventing the SDK file from functioning properly in Unity. Given this complication, it looks like I'll have to revert back to working directly within Spatial.io. This means adapting my approach to fit the limitations and capabilities of Spatial.io, without the added functionalities that Unity integration could have provided.

It's a bit of a letdown... :<

Right after that, I encountered a significant technical limitation with Spatial.io that led to a complete overhaul of my floor plan. Originally, I had envisioned a grand, five-story structure to embody the epic scale I wanted for the project. However, this ambitious design quickly proved to be too complex for Spatial.io, as it approached the platform's limits in terms of size and detail. Faced with this challenge, I had to rethink the entire layout of the space. This meant scaling down the height and possibly reconfiguring some of the key elements to fit within a more manageable size. The process involved not just a physical reduction in scale but also a creative reimagining of how to effectively convey the grandeur and thematic richness of Greek mythology within a smaller, more condensed format.

Fig 4.2 The new floor plan - this ensures that the highest ranking gods have their own room too albeit a bit small

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WEEK 11 - 08/12/23

At the beginning of the week, I embarked on a comprehensive research process to gather all the necessary profiles of the gods for my project. This involved searching for images and references that show each god from multiple angles – left, right, back, front, and top views. This thorough approach was essential for accurately sculpting the figures in 3D. Gathering these diverse perspectives is crucial in 3D modelling, especially when sculpting figures with as much historical and cultural significance as Greek gods. These varied viewpoints ensure that the sculptures are accurate and lifelike from every angle, providing a more authentic and engaging experience.

Fig 5.1 Researching for Artemis' statue model, Diana By Matthew Brennan

For my research, I utilized Sketchfab as a primary resource. Sketchfab's platform allowed me to rotate and view the models of Greek gods from multiple perspectives, which was crucial for my project. This capability is particularly advantageous compared to standard internet searches, where images are often limited to the more common 3/4 perspective, which can be incomplete for detailed sculpting purposes. By using Sketchfab, I could get a comprehensive view of each deity, ensuring that my sculptures would be as accurate and detailed as possible. The ability to see the models from all angles – front, back, left, right, and top – provided me with the complete visual information needed to create accurate 3D representations.

Sculpting each deity for my Greek myth study space is a time-intensive process, taking approximately 5-6 hours per statue. This duration reflects the care and detail I aim to infuse into each sculpture, using the statue references I've gathered. However, despite my desire to achieve a high level of detail, I've been mindful of the technical constraints, especially concerning the vertices, edges, and faces in Blender. To ensure that my models are compatible with the platform's limitations, I've had to simplify my designs. Even with these adjustments, further steps like decimation and remeshing are necessary to reduce the complexity of the models. This process helps keep the vertex count under control, ensuring that the models are detailed yet efficient enough to be handled by the software without compromising the overall design and integrity of the project.

Fig 5.2 Progress..

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WEEK 12 - 15/12/23

I'm preparing a PowerPoint presentation for my Greek myth study space project, which I need to present next week. The presentation is designed to succinctly cover the entire development process of the project, from the initial design concepts to overcoming various technical hurdles and integrating valuable feedback. To effectively illustrate this journey, I'm incorporating visuals from Blender, showcasing both the evolution of the project and the skills I've honed along the way. However, given that next week's presentation encompasses a combination of three modules and is constrained by a time limit, I plan to focus on the key aspects. This detailed presentation might primarily be shared on this blog, allowing for a more comprehensive display of my project's journey without the restrictions of the time-bound presentation.

Moreover, due to time constraints and difficulty in finding suitable textures, I've decided to create only seven of the gods' weapons for my project. This decision allows me to focus on ensuring that each of these seven weapons is crafted with the highest quality and attention to detail. The challenge of not finding appropriate textures for the remaining weapons further influenced this decision, emphasizing the importance of resource availability in such detailed projects.

Fig 6.1 Gods' relics

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WEEK 13 - 20/12/23

Today marks the day of my presentation. The anxiety had been building since yesterday, and unfortunately, waking up unwell today only added to my stress. As I stepped up for my turn, I encountered technical difficulties with my spatial IO. Initially, there was significant lag during the loading process, and the textures were only partially visible, showing up at merely 50%. Despite these challenges, I felt a wave of relief when, eventually, the remaining textures loaded successfully, allowing me to proceed with my presentation.

Fig 7.1 The textures aren't loading properly

Moreover, I realized that some textures applied to the gods' artefacts were incorrect. This issue likely stemmed from an oversight on my part before exporting the project. I didn't thoroughly check to ensure that each object had the correct texture assigned. This lapse in the final review process led to the mismatched textures, which could have affected the overall quality and accuracy of the presentation.

Fig 7.2 Hermes' caduceus is the same colour as the wall

Reflecting on the presentation I just gave, it's clear that there's room for improvement, particularly in how I design and convey my content. The feedback I received was eye-opening. They pointed out that my space lacked contrast and suggested incorporating my logo's colours into the overall design. This makes sense; it would help the logo blend more naturally into the space, rather than appearing unexpectedly. Also, the colour blue, strongly associated with Greece, could subtly symbolize the endurance of Greek mythology in contemporary society.

Fig 7.3 My study Space Logo

Another insightful piece of feedback was about the signage. Transforming them from flat images to 3D objects could really enhance the viewer's experience. It would add a new dimension to the presentation, making the area names more prominent and interactive.

Fig 7.4 "Hall of the Gods" previous signage

Fig 7.5 "Heroic Quest Chambers" previous signage

Additionally, the external judge highlighted the importance of a wayfinding system within my presentation space. They suggested placing maps around the area to aid users in navigating the space. This idea resonates with me, as it addresses a crucial aspect of user experience—orientation and ease of movement. By clearly marking each room and providing visual guides, visitors can smoothly transition from one section to another, enhancing their overall experience. This addition would not only make the space more user-friendly but also add an element of interactivity and engagement. It's a valuable insight that I plan to incorporate into future designs to improve the accessibility and navigability of the space.

Perhaps the most significant suggestion was to enrich the space with more information about Greek myths. This would not only make the presentation more informative but also more engaging. By incorporating interactive elements and multimedia, I could transform the space into an educational journey through Greek mythology, making the experience more immersive and memorable for the audience.

This reflection has made me realize the importance of seeing one's work through others' eyes. Their perspectives have provided me with valuable insights on how to improve my presentation skills and create more impactful and engaging content. I will also incorporate this feedback before the final submission on the 5th.

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IMPROVEMENTS

My main technical concern at this stage is altering the texture of the gods' relics in my project to make them appear more authentic and reflective of the attributes they represent.

Fig 8.1 The Mapping nodes for the Zeus' Weapon

Ever since I discovered the walk/fly feature in Blender, navigating through my 3D environments has become significantly easier and more intuitive. This feature has revolutionized the way I interact with the spaces I create. It allows me to move through the virtual scenes as if I were physically present within them, offering a unique and immersive perspective. This first-person viewpoint not only enhances my understanding of spatial relationships and scale but also gives me a profound sense of the ambience and atmosphere of the environment.

look at me flying thruu ^^

Additionally, addressing a suggestion from one of the judges, I've installed a wayfinding kiosk in the centre of the landing area. This practical addition not only aids in navigation but also integrates smoothly into the overall design. The kiosk is intended to provide clear guidance to visitors, enhancing their experience by making it easier to explore and interact with the space.

KISOKS

I'm keen on making the wayfinding kiosk in my project interactable, possibly by incorporating a feature where it spins or has some form of dynamic movement to engage the visitors. However, I'm facing a technical challenge with this idea. Every time I try to implement this interactive element in Blender, the software crashes.

Also, one suggestion was to enhance the signages by rendering them in 3D, which would add depth and make them more visually engaging. Additionally, it was recommended to increase their contrast, perhaps by adding a backing board. This change would not only make the signage stand out more effectively in the space but also ensure they are easily readable and accessible.

Fig 8.3 The Process of converting them into outlines and exporting them into SVG

Fig 8.4 Extruding them in Blender so it looks 3D

Fig 8.5 Trying to see if it looks ok with the space

I've made a significant change to the thematic focus of one of the key areas in my project. Initially, I had designed an "antique gallery" that displayed ancient Greek pottery, which was more aligned with real historical artefacts. However, to better align with the overarching Greek myth theme of my project, I will transform this space into a hall dedicated to the Greek's nine Muses.

Fig 8.6 This is what my previous spatial IO looked like for the "Antique Gallery"

The nine Muses in Greek mythology are symbolic of the arts and sciences, and each one represents a different aspect of creativity and learning. By dedicating this space to them, the hall becomes an embodiment of the rich mythological heritage and the artistic and intellectual pursuits of ancient Greece. This shift from a historical display of pottery to a more mythologically resonant space allows for a deeper exploration of Greek myths and their cultural significance.

In managing the complexity of my project, I'm conscious of the time and technical limitations, specifically not exceeding 2 million vertices in my space. To adhere to this constraint, I've made a selective decision in the modelling process. Instead of creating models for all nine Muses of Greek mythology, I've chosen to focus on modelling only the four Muses that resonate the most with me and the theme of my project.

Fig 8.7 Inserting the image painting of the Muse Calliope

Fig 8.8 Calliope's statue at an angle

Fig 8.9 Polyhmnia and Clio statue

This new "Muses' Gallery" not only enhances the thematic consistency of my project but also provides an opportunity to creatively represent each Muse and their respective domain, be it poetry, music, drama, or science. It's a space that not only pays homage to these iconic figures but also inspires visitors to appreciate the depth and breadth of Greek mythology.

Furthermore, since I had more time, I've also created a maze within my project, inspired by the legendary Labyrinth of Daedalus. To design this maze, I focused on replicating the intricate, sprawling layout that a labyrinth would historically have. This included long, winding corridors and unexpected dead-ends, designed to challenge and engage. Visitors navigating the maze can experience a small part of what it might have felt like to be in such a legendary structure, adding a layer of interactive storytelling to the project.

Fig 8.10 The maze in question, be careful... don't get lost

Despite my initial plans, I was unable to implement the bookcases into the design due to the risk of exceeding the 2 million vertex limit in Spatial.io. This limitation is crucial for ensuring the smooth functionality and performance of the 3D space. The decision to omit the bookcases was a difficult one, as they were intended to add both aesthetic appeal and thematic depth to the study space. However, prioritizing the overall stability and performance of the model meant making such compromises.

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QUALITY CHECK IN SPATIAL IO

Fig 9.1 Hmm... it crashed, testing my patience forreal

Fig 9.2 The headgear is bigger than the avatar...

Fig 9.3 You can see the word "Adobe" plaster all over the texture

You can be glitched into the walls if you are closed enough...

Fig 9.4 Seriously... It's the other way around

Fig 9.5 WHY IS IT FLOATING?

Fig 9.6 Just why :/

Fig 9.7 At least it's the information.... supposed to be "thyrsus" not "caduceus"

Fig 9.8 All done ^^

Fig 9.9 Checked after submission to see if it was all alright.... it wasn't, all the information was gone 

Fig 9.10 Turns out it's not just me who has the same problem

Fig 9.11 :<

My presentation:

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REFLECTION

Reflecting on the seven-week journey of creating a Greek myth study space in Blender, incorporating a VR heroic quest space, a hall of the 12 main Olympians, and dedicated areas for Zeus and Hera, Poseidon, and Hades, has been a formidable and enlightening experience. The project's scope was ambitious (or maybe I was too ambitious), blending elements of Greek mythology with modern design and technology, and it presented a unique set of challenges.

One of the major challenges was ensuring that each space within the study area was distinct yet cohesive with the overall theme. Sculpting the Olympians required not only artistic skill but also a deep understanding of their mythological significance. The VR heroic quest space, integrating my learning from another module in application design, was particularly demanding in terms of technical execution and creative storytelling.

Creating the god's relics/weapon showcase and the Daedalus-inspired labyrinth added layers of depth to the project, but these also brought about their own set of challenges. For instance, each relic had to be meticulously designed to reflect its mythological and historical accuracy.

The technical aspects, especially working with Spatial.io, posed significant problems. There were issues with exporting the intricate details of my designs and managing the software's limitations without sacrificing my artistic vision. This was a constant balancing act between creativity and technical feasibility.

Conceptualizing the interior to align with my logo's colours (blue, sandy, and gold) while still maintaining the ambience of Greek mythology was another task that required careful thought and planning. This aspect of the project underscored the importance of branding and aesthetic consistency in design.

Presenting the project alone was a daunting task. The process of compiling, refining, and presenting the work coherently was as challenging as it was rewarding. It involved numerous iterations, feedback sessions, and continuous learning.

One of the biggest takeaways from this project is the understanding of the magnitude of such a large-scale assignment. The complexities and demands of the project highlighted the importance of teamwork and collaboration in creative endeavours. If given the chance to undertake a similar project in the future, I would likely opt for a collaborative approach, seeking the support and input of peers and mentors, to manage the workload more effectively and enrich the creative process with diverse perspectives.

In retrospect, while the project was a significant learning experience, its scale and the challenges encountered along the way have led me to the conclusion that I would be hesitant to take on such a large and complex assignment solo again. The journey was a testament to the importance of realistic project scoping, time management, and the value of collaborative efforts in creative projects.