3D Homepage Development Log 02: Room Scale Is Not One Number

Room modeling quickly produced a recurring failure: the dimensions could look plausible in metres while the browser still felt empty. If the walls were too long, the desk too small, and the chair and window unrelated, changing one measurement only moved the imbalance elsewhere.

The Fixed Camera Is the Composition Authority

The Joan Portfolio reference informed the spatial grammar, not the models or textures: an open cutaway room, a legible work area, supporting masses at the sides, and a small amount of foreground depth. The final room is about 6.00 × 5.86 m, but those values are modeling checks. The fixed 16:9 entrance projection decides whether the composition works.

The desk moved toward the primary wall. Monitor, office chair, and framed calligraphy bird align around one visual axis. The window moved upward and toward the corner without crossing the desk's outer edge. A single recliner, elliptical rug, and floor lamp establish foreground depth, while the plant and record cabinet balance the two sides without filling every gap.

Structure Must Survive Dragging

The two walls now meet on one shared 45-degree miter with duplicate internal faces removed. Window openings, wall skin, and floor boundaries use continuous topology. These changes are almost invisible in a still poster, but they decide whether bounded room dragging reveals black seams, overlapping faces, or the background through a crack.

The finished layout does not distribute objects evenly. The workstation must read first, the bookcase and listening area invite secondary exploration, and foreground furniture only supplies lived-in scale. “Real proportion” therefore describes both metres and screen-space hierarchy.

The current overview retains deliberate negative space while giving the workstation, bookcase, record cabinet, and lounge area distinct visual roles.