The flower sea
A faded terracotta flower hangs in a spacious blue-grey sky. Low, layered swells translate mountain-like silhouettes into water. Slate-blue strokes may be lifted as pliable material.
A quiet room made of water and reflections. Beyond its glass thresholds, a flower hangs above the sea, green fields unfold and sculptural plants gather in quiet groups. A painted mark can become something held, shaped and made your own.
An image-led, interactive presentation of the concept — not a working XR application.
The courtyard remains a dim, open-sky night space. Trees rise directly from the water; mirror walls and glass doors soften its edges. The waterfall, shell and pearl form its luminous centre. Beyond the thresholds, each world keeps its own light.
A faded terracotta flower hangs in a spacious blue-grey sky. Low, layered swells translate mountain-like silhouettes into water. Slate-blue strokes may be lifted as pliable material.
Deep green and sage fields form broad horizontal and sloping planes beneath soft clouds. The lone ochre chair remains, with space and stillness around it.
Dark oval leaves, slender stems and simplified trees form a few distinct groups. Muted olive and stone-grey planes keep the planting sculptural without becoming crowded.
Colour stays restrained: grey-blue, bottle green, sage and soft ivory, with faded earth tones used sparingly. Broad painted masses alternate with dry-brush accents. The water courtyard remains quieter than the gently moving sea beyond its door.
Switch between the three concept conditions. They share a visual world, but differ in what the participant can do and what they see.
Lift a coloured brushstroke from the sea, hold it like soft clay, then bend, press and join it with other colours. The resulting form may suggest a body, a stone or an unfamiliar living thing. Its meaning belongs to the participant.
Concept illustrations, not controlled experimental stimuli. Camera, lighting, body display and exposure time would need to be matched in a working prototype.
The material comes from the world itself. A slate-blue wave, a green field or a pale leaf can offer a substantial coloured stroke. Each piece keeps its pigment ridges as it is reshaped and combined.
Pinch a piece of painted colour from the wave. It becomes solid, graspable material rather than flowing water.
Bend, compress and stretch the piece. Thumb marks and broad pigment ridges preserve the sense of touch.
Join different colours and volumes. Arches, openings and rounded masses suggest human and natural forms.
Pause with the result, continue shaping, undo a change or return the material. There is no required final sculpture.
The sculptural direction draws on Henry Moore’s biomorphic language: body-like masses, natural curves and meaningful empty spaces. The illustrated form is one possibility, not a model the participant must reproduce.
This bilingual presentation lets you switch A / B / C and enlarge six visual studies. The paintings establish the environment, material language and interaction intent. Hand tracking, clay deformation, world navigation and animated water are not implemented here.
A first XR build could support selecting, grabbing, bending, scaling, joining, undoing and resetting a limited set of deformable pieces. Unrestricted free sculpting would require additional development.
A allows active shaping. B presents symbolic forms through passive viewing, using a predetermined or paired sequence in the proposed XR build. C presents a softly suggested human presence within the plant garden, without conversation or simulated responses.
The C illustration uses a fictional figure, not a real deceased person. Any personally relevant likeness would require separate authorisation. The softened face is an artistic choice; recognition and personal relevance would need to be assessed rather than assumed.
| Comparison | Design question | Interpretation limit |
|---|---|---|
| A ↔ B | Active shaping versus viewing symbolic forms | Movement, agency and content creation vary together; this is not a single-mechanism test. |
| B ↔ C | Symbolic form versus human presence | Visual complexity, recognisability and personal relevance must be considered. |
| A ↔ C | Two complete experience approaches | Any difference would concern the overall experience, not interactivity alone. |
Participants may pause or end at any time. Objects are not assigned fixed emotional meanings, and no particular interpretation or “farewell” outcome is required.