Once the pattern became clearer, I began translating it into a three-dimensional environment.
I wanted the result to feel like an open sculptural landscape rather than architecture designed for humans.
The main restrictions were:
- no roofs
- no windows or doors
- no conventional buildings
- no sci-fi environment
- no enclosed interior spaces
- no literal fabric world
Each line or boundary in the pattern could become a raised sculptural partition, while each enclosed shape became an open spatial area.
The environment therefore remained directly linked to the original 2D composition.
At this stage I also explored the central “drop” shape in the pattern.
This area gradually became important for the ending. Rather than using a dramatic morph, I considered allowing the camera to rise above the completed world and reveal the full structure from above.