Project Constraints
Our class operated under a unique creative constraint system:
• Audio Exchange: Students recorded campus audio individually, then received a random classmate's recording to inspire their VR design
• Physical Space: All experiences had to work within a 10x10ft classroom demonstration area. (Signifying the physical constraint is important as there are two walls that a user could hit.)
• Original Assets: All 3D models and additional audio had to be created personally
• Classroom Timeline: Project balanced alongside other coursework demanding optimization decisions
This is the said audio assigned.
My Process
My assigned audio came from the stop sign walking system at our school - initially, I planned to take this literally and recreate a crosswalk environment. However, I became fascinated with pushing the concept toward abstraction.
I started experimenting with particle systems to create more interpretive visual representations of the audio, but quickly realized that optimizing custom particle effects and animating them from scratch was consuming too much development time while I balanced other coursework. This forced me to pivot toward simpler asset creation.
The constraints led me to reimagine the space as more of a "think space" - using symbolic traffic signs and minimal interaction rather than complex simulations. I focused on button interactions that would trigger emissions (glowing effects on assets), creating a meditative, contemplative experience around traffic symbolism.
As a last-minute addition, I included moving cars because I could hear vehicle sounds in the original audio recording. This simple animation added visual interest without requiring complex optimization, and tied the abstract space back to its audio origins.
ASSETS
I initially got stuck trying to figure out what I was capable of accomplishing, so I started creating 3D assets in Blender as a way to explore and push my modeling skills.
Through a lot of trial and error, I learned to focus on low-vertex models to help the game run more efficiently. During the creation phase, I put together a mood board filled with traffic and time-related signs, which I then reinterpreted to fit the “thinkspace” theme I was aiming for.
All 3D modeling was done in Blender, and to meet the deadline, I either created or sourced open-source icons to complete the visual elements.
Early World Building
In the early stages of world building I was stumped with how to make the enviornment. Instead of planning i just jumped into blender and was seeing what i could make and how to input that into the pipeline of blender to unity and I also worked within unity so particles but time and lagging were a huge concern for me and though i liked the concept I was on a deadline and onn a bad personal compuyter
This was the final environment I went for. Utilizing blenders mirror features and arrays Iwas able to quickly generate an envbiroment that was easy to transfer into unity.
Finishing touches
In the scramble to get meet the deadline I had a lot of issues with z fighting and lighting issues that I didnt have in the preview and i had in the build. I was discrouaged that I didnt have enough times to adress those issues on time, but this project really helped me break out my comfort zone in blender and just going for it.
To add the "cherries on the top" I added a cyberpunk like car and animated in unity as in the audio you can hear cars passing by.
Then I also added some droning notes to layer on top to add to the thinkspace experience.
Technical Implementation
Using Unity 6's VR Interaction Toolkit, I built an interactive "think space" centered around traffic symbolism. The core interaction involved button presses that triggered glow emissions on various traffic-related assets, creating a contemplative experience where users could activate different elements of the environment.
The challenge was balancing my initial ambitious particle system concepts with practical time constraints. After realizing custom particle optimization was too time-consuming, I shifted focus to simple, effective button-to-glow interactions that still captured the meditative quality I wanted.
I added moving cars as a last-minute visual element after noticing vehicle sounds in the original audio - these simple animations provided movement and connected the abstract space back to its crosswalk audio origins. The classroom constraint meant ensuring all interactions and moving elements stayed within safe boundaries for demonstration.
Reflection
This project taught me how creative constraints can drive design decisions. Working with unknown audio forced me to interpret someone else's creative vision, while time and space limitations pushed me toward elegant simplicity over technical complexity. The final experience successfully combined the received audio with my visual interpretation, creating something neither of us could have made alone.
I also learned that material making is increidbly hard and in retropsect and talking to other game devs apparently there were a lot of issues I created like .dfa