This paper describes the design, evaluation, and lessons learned from a project involving the implementation of an immersive virtual environment for children called NICE (Narrative-based, Immersive, Constructionist/Collaborative Environments). The goal of the NICE project was to construct a testbed for the exploration of virtual reality as a learning medium within the context of the primary educational reform themes of the past three decades. With a focus on informal education and domains with social content, NICE embraces the constructivist approach to learning, collaboration, and narrative development, and is designed to utilize the strengths of virtual reality: a combination of immersion, telepresence, immediate visual feedback, and interactivity. Based on our experiences with a broad range of users, the paper discusses both the successes and limitations of NICE and concludes with recommendations for research directions in the application of immersive VR technologies to children's learning.

A multitude of challenges comes into play when attempting to design (and evaluate) an interactive digital storytelling experience for use by visitors in a museum. This paper reports on the evaluation of the prototype mobile-based storytelling “guides” designed, developed and deployed as part of a research project at the Acropolis Museum in Athens, Greece. Experiences designed for different visitor profiles were evaluated several times throughout the iterative design process, in a number of on-site studies, and with more than 180 museum visitors of all ages (with this paper reporting on two studies conducted with a total of 53 users visiting individually or in pairs). The evaluation methods included ethnography (i.e., observation of visitors in the Museum’s galleries), pre- and post-experience in-depth interviews and questionnaires to measure the Users’ Experience (UX), as well as data logging. The analysis of the data focused on themes representing components of the experiences, such as interactive story plot and narration, staging and way-finding in the physical space, personalization and social interaction. Our findings confirmed that understanding UX and what makes it effective or not in the rich context of a cultural setting is a complex endeavor. The paper discusses our findings and proposes relevant recommendations for the design of digital experiences for cultural, educational, and recreational purposes.

In this paper we present a user-centered design approach to the development of a Virtual Environment (VE), by utilizing an iterative, user-informed process throughout the entire design and development cycle. A preliminary survey was first undertaken with end users, that is, architects, chief engineers, and decision makers of a real-world architectural and urban planning project, followed by a study of the traditional workflow employed. We then determined the elements required to make the VE useful in the real-world setting, choosing appropriate graphical and auditory techniques to develop audiovisual VEs with a high level of realism. Our user-centered design approach guided the development of an appropriate interface and an evaluation methodology to test the overall usability of the system. The VE was evaluated both in the laboratory and, most importantly, in the users' natural work environments. In this study we present the choices we made as part of the design and evaluation methodologies employed, which successfully combined research goals with those of a real-world project. Among other results, this evaluation suggests that involving users and designers from the beginning improves the effectiveness of the VE in the context of the real world urban planning project. Furthermore, it demonstrates that appropriate levels of realism, in particular spatialized 3D sound, high-detail vegetation, and shadows, as well as the presence of rendered crowds, are significant for the design process and for communicating about designs; they enable better appreciation of overall ambience of the VE, perception of space and physical objects, as well as the sense of scale. We believe this study is of interest to VE researchers, designers, and practitioners, as well as professionals interested in using VR in their workplace.

In this paper we present the design of handheld Augmented Reality (AR) experiences that are seamlessly incorporated into interactive museum narratives, specifically for the Acropolis Museum. The experiences start by forming a visitor profile that later dynamically adapts the narrative, including the AR activities, to the user`s behaviour. In this cohesive narrative context, the AR activities provide four ways to digitally look at the exhibits: virtual reconstruction of the original aspect; placement in the original location; visual highlighting of interesting details and annotations; and recreation of mythological appearances. The challenges of this design are presented, conluding with a discussion and lessons learned.

In this paper, we firstly critique the state of the art on Virtual Museums (VM) in an effort to expose the many opportunities available to enroll these spaces into transformative and engaging cultural experiences. We then outline our attempts to stretch beyond the usual VM in order to connect it to visitors in a measurably emotional, participatory, interactive and social fashion. We discuss the foundations for a conceptual framework for the creation of VMs, grounded in a user-centered design methodology and related design and evaluation guidelines. We then introduce two main cultural heritage sites, which are used as case studies at the core of our efforts, and conclude by describing the many challenges they bring for pushing the boundaries on the human-felt impact of the virtual museum.