The second example is a combat arena within a dungeon level.  The level was already blocked out, but this arena was unfinished and the first blockout needed refinement.  I stepped in to help the assigned Level Designer stay on schedule by taking on the arena myself.  

Most of the original layout was changed and I was responsible for the final layout and the broad placement of the architecture and props.  An artist made a visual pass that ultimately changed the look and feel quite a bit.  Most of the props changed to make the visuals really pop and the end result is quite amazing, in my opinion.  I helped playtest and tune the encounter.

I was responsible for designing levels to fit missions from our narrative team.  Our studio worked on the Boston era locations for this game, based on historic locations represented in Assassin's Creed 3.  We pulled original open-world geometry from that game into this one and broke it up into smaller sections to meet the requirements of the VR platform.  

Levels were open enough to allow multiple approaches to the objectives, and we worked hard to hide the boundaries by giving players room to explore comfortably.  I adapted three missions for this game, ranging from city streets, to sailing ships, and building interiors.  One of the biggest LD challenges was to figure out ways to fit mission objectives into the limited player interactions we had available.  VR development was very restrictive and taught us to distill our ideas into simple forms appropriate for the medium.

As one of the first VR games to successfully use free motion control, we put years of experience from other VR titles into making this game as comfortable as possible for all players.  The missions were constructed from the proven building blocks of core player actions and their metric requirements.