Inspiration:

Throughout the design phase of this project, I had the exciting challenge of creating various elements, including objects, characters, environments, and interactive features. In this creative journey, I found inspiration in the artistic styles of the Bauhaus era, which greatly influenced my design choices. Notably, the works of Oscar Schlemmer and Wassily Kandinsky left a significant mark on my creative process. These artists from the Bauhaus movement contributed immensely to the project's aesthetics. I looked to their innovative approaches to shape the appearance and character of the objects and the main character in a way that embodies the spirit of Bauhaus creativity, bringing their artistic influence into the digital realm of the project.

Sketching and Ideation:

While working on this project, I found myself inspired by the abstract objects and the intriguing structures seen in paintings and the imaginative worlds crafted by Bauhaus-era artists. It occurred to me that these artistic ideas could come to life through the use of VR technology. To explore this further, I conducted some research, and this research laid the groundwork for my initial project sketch.

In the first version of the project, I decided to directly use a model from the mechanical ballet. However, as the project progressed, I realized that this model didn't quite capture my vision effectively. So, I decided to create a new model, drawing influence from the basic shapes commonly associated with the Bauhaus style. This new approach allowed me to better express the essence of my creative idea.

I also started designing the virtual environment. For that I got influenced by Moholy, Kandinsky, Albers, and Bayer.

Modeling and Animating:

I used Blender for creating the models, even though I wasn't very experienced with it. I thought it would be suitable for my project since I only needed simple, animated models, and Blender's animation tools were helpful.

My main focus was on the main character's model because it would be prominently displayed in the virtual mirror, even though I wasn't entirely sure how I would use it at the time. I initially thought about modeling the famous figure from the Mechanical Ballet, but I decided to go for a unique design instead. I also changed my mind about this design because I realized I could create more advanced interactions in the later stages of prototyping. I also created models and animations of characters based on Kandinsky's drawings to dance alongside the user, and these models became an important part of the prototype.

Prototyping:

During the planning phase, I needed to choose between two main software engines, Unreal Engine and Unity. I opted for Unity because it allowed me to have more control over the project and I found more helpful tutorials for it online. Also, Unity allowed the project to run on the headset itself, eliminating the need for cables or a PC connection.

Firstly, I brought in all the animated models into Unity and set up their animations. Then, I worked on the main character model, making it compatible with hand and head tracking. To do this, I imported the rigs I had created in Blender and synchronized the bones in Unity. I also used Oculus APIs to enable hand tracking.

As the project progressed, there were several iterations. In the initial version, I had the dancing figures and hand tracking working. Later on, I thought it would be great to include a virtual mirror for users to see themselves, and I began working on the virtual environment.

I also wanted to experiment with object interactions, adding different sounds and allowing people to combine elements to create their own music. However, I eventually realized that the project was becoming too complex and shifting its focus, so I decided to remove this feature in later prototypes.

As the project advanced, I still felt that the interactions were too basic, and the main virtual character model had issues. So, I made the decision to remove the virtual body model entirely and instead allow people to create their own bodies using the floating objects. I wanted to keep the interface simple and instinctive. When users grabbed objects, their natural instinct was to attach them to themselves, so I wanted to make this a feature. Initially, I used Unity's socket interactor feature for this purpose, but it was designed for static objects and didn't work well with constantly moving bodies. Fortunately, Unity's flexibility allowed me to write custom code to achieve the desired interaction. With the latest prototype, users can easily grab objects and attach them to themselves using socket points on their joints, creating a natural and intuitive interaction experience.

Testing:

Because the project involved a lot of technical aspects, I had to test it regularly. Initially, I would test it by myself, and if a particular feature worked smoothly, I'd then have my friends and family try it out. I also sought their opinions to improve the project. For instance, the idea of removing the objects that made sounds came from their feedback. This experience underscored the importance of testing the project with people other than yourself because it's easy to become fixated on one approach otherwise.

Final:

Finally, the exhibition day arrived! As my project was entirely digital, there was no need for extensive preparations in advance. Moreover, I was provided with a substantial screen to showcase exactly what users were experiencing.

Over the course of these two days, numerous individuals had the opportunity to try out the project. I was on hand to assist users, observe their interactions, and gather valuable feedback. The feedback I received was overwhelmingly positive, with children, in particular, displaying a great deal of enthusiasm while engaging with the project. Even those who were initially apprehensive or unfamiliar with VR had a delightful time after giving it a try.

One particularly noteworthy observation was that when people first began using the project, they didn't immediately realize the presence of a large virtual mirror since they hadn't yet attached any objects to themselves. However, as they engaged with the objects, affixing them to their joints to create their own virtual Bauhaus-inspired avatars, they gradually became aware of the mirror's existence. I found this phenomenon remarkably intriguing, as it potentially offers insights into our perception of our own bodies and how it evolves through interactive experiences.