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ABSTRACT Reconstructing and processing 3D objects are activities in the research field of computer graphics, image processing and computer vision. The 3D objects are processed based on geometric modelling (a branch of applied mathematics and computational geometry) or machine learning algorithms based on image processing. The computation of geometrical objects includes processing the curves and surfaces, subdivision, simplification, meshing, holes filling or reconstructing the 3D surface's objects on both point cloud data and triangular mesh. While the machine learning methods are developed using deep learning models. With the support of 3D laser scan devices and LiDAR techniques, the obtained dataset is close to the original shape of the real objects. Besides, photography and its application based on modern techniques in recent years help us collect data and process the 3D models more precisely. This article proposes a new method for filling holes on the 3D object's surface based on automatic segmentation. Instead of filling the hole directly as the existing methods, we now subdivide the hole before filling it. The hole is first determined and segmented automatically based on the computation of its local curvature. It is then filled on each part of the hole to match its local curvature shape. The method can work on both 3D point cloud surfaces and triangular mesh surfaces. Compared to the state‐of‐the‐art (SOTA) methods, our proposed method obtained higher accuracy of the reconstructed 3D objects. [ABSTRACT FROM AUTHOR]

AbstractVirtual Museums present a novel approach for audiences to experience cultural content. This paper proposes two new concepts of virtual museums: Human-Centric Virtual Museum, which emphasizes audience interaction experiences, and Content-Centric Virtual Museum, which focuses more on the digitized display of real museum collections and content. With the widespread application of extended reality (XR) technology in this field, people are increasingly inclined towards experiencing highly interactive Human-Centric Virtual Museums. However, evaluating these from a user cognition perspective warrants further investigation. To address this, we design and implement three fundamental forms: Mobile Application (MA), Virtual Reality (VR), and Mixed Reality (MR), and evaluate comprehensive user experiences, including satisfaction, cognitive load, emotional involvement, presence, interactivity, degree of participation and potential negative impact. The experimental results show that in terms of satisfaction and cognitive load, users generally find the MR mode easier to understand and operate. Regarding emotional involvement, audiences in the VR and MR modes are more likely to focus on the current content. Concerning presence, the MR mode enables audiences to perceive the real spatial location, thereby increasing their immersion. Furthermore, compared to the MA mode, both MR and VR modes exhibit stronger interactivity, providing audiences with a more immersive exhibition experience. However, the VR mode may also cause users to feel discomfort during use. [ABSTRACT FROM AUTHOR]

A scientific method for evaluating the design of interfaces is proposed to address the unique characteristics and user needs of infrequent-contact public service interfaces. This method is significant for enhancing service efficiency and promoting the sustainable development of public services. Current interface evaluation methods are limited in scope and often fail to meet actual user needs. To address this, this study focuses on virtual museums, examining users' aesthetic psychology and cognitive behavior in terms of layout aesthetics and visual cognitive characteristics, aiming to explore the relationship between the two. Interface layout aesthetic values and user visual cognitive measurements were obtained by using computational aesthetics methods and eye-tracking experiments. These served as input data for a new model. An improved gray H-convex correlation model utilizing the ICRITIC method is proposed to examine the mapping relationship between interface layout aesthetics and visual cognitive features. The results demonstrate that our new model achieves over 90% accuracy, outperforming existing models. For virtual museum interfaces, symmetry and dominance significantly influence user visual cognition, with the most notable correlations found between density and gaze shift frequency, simplicity and mean pupil diameter, and order and gaze shift frequency. Additionally, fixation duration, fixation count, and mean pupil diameter were inversely correlated with interface layout aesthetics, whereas gaze shift frequency and gaze time percentage were positively correlated. [ABSTRACT FROM AUTHOR]

Tourism is an excellent pathway with which to promote and provide access to cultural heritage. Sustainable cultural tourism offers a new perspective, as it places cultural heritage and local communities at the centre of decision-making processes. In this context, traditional tourism must be updated accordingly to the new times. This research aims to classify a cultural heritage piece found in the ruins of what used to be the Castle of Montilla, and produce a 3D virtual model using innovative technologies, to be appreciated in the metaverse, as a virtual museum. The idea of tourism as a real movement of people should be shifted little by little to an idea of connection without the need of being there exactly. This research succeeded with this idea. A 'perfume burner', catalogued as a lamp, and currently located in the medieval section of the Local Historical Museum of Montilla (Cordoba, Spain), was virtually reconstructed. In the attainment of these physical subjects transferred to the metaverse, photogrammetry played a crucial role. Obtaining a 3D digital model of a heritage asset enables the public in general, present and non-present visitors, to appreciate such cultural pieces. In this context, tourist agents and resources might be changed and updated to bring tourist services and clients. The metaverse is paramount in creating virtual museums, providing the possibility of establishing connections with people without the need to be physically in a certain place. The virtual museum leverages digital technology to promote sustainability by reducing travels and minimising the environmental impact. To date, this research enhances the experiences of the users at the local museum. [ABSTRACT FROM AUTHOR]

The architectural experience of visiting a virtual building and exploring its contents requires tools to provide visitors with accessible and pleasurable ways to conduct their stroll and facilitate the contemplation and enjoyment of the contents displayed. Natural user interfaces (NUI) are effective and engaging tools for interacting with digital content. In this paper, the authors combine their previous work in the research lines of natural user interfaces and assisted navigation, putting them together on a UX test scenario and studying their combined effect. The testbed consisted of an installation controlled using a depth camera for NUI interaction and applying an attractor-based approach of assisted navigation. The UX experiment consisted of five stages, with three test sets of increasing complexity. The system monitored and recorded the users' movements on each test during the experiment to extract quantitative data. After each task, users filled out specific questionnaires that provided qualitative information. The study also evaluates the influence of users' previous expertise on 3D video games in their performance taking the test. The results indicate the benefits of combining both technologies and how they enhance the virtual visit experience. Furthermore, the combined use of natural interaction and assisted navigation facilitates universal access to installations of this kind, frequently found in museums and exhibits, independently of previous user expertise in interactive 3D environments, such as video games. [ABSTRACT FROM AUTHOR]

Musical cultural heritage, as an important component of cultural heritage, possesses significant cultural value and inheritance significance. With the development of society and the passage of time, these precious traditional musical cultural heritages inevitably face the dilemma of gradual depletion or even disappearance. In the digital age, effectively protecting and inheriting these musical cultural heritages has become an urgent problem to be addressed. Therefore, this paper proposes an application method based on digital twin technology, exploring how to protect and inherit musical cultural heritages through digital twin technology. By leveraging digital twin technology, a virtual museum dedicated to showcasing the richness and historical connotations of music cultures is created, preserving and simulating the soundscapes of historical music eras. Through the integration of audio archives, 3D modeling, and interactive displays, users can immerse themselves in the experience of historical music in the digital space. This paper evaluates the feasibility and cultural preservation value of this digital music history museum through the creation of music digital twin technology instances and user survey feedback and discusses the prospects of digital twins in the field of musical cultural heritage. [ABSTRACT FROM AUTHOR]

Abstract The design and implementation of virtual museums have evolved over decades, broadening the scope of traditional museum exhibitions and serving as an effective complement to physical museums. However, virtual visual effects have consistently fallen short of replicating the authentic exhibition experience and cannot substitute for physical museums. In this paper, we report a dual-mode mixed visualization system combining computational photography and binocular stereo vision techniques, and introduce an innovative virtual museum for Sanxingdui bronzes. This approach enables visitors to engage with the artifacts in a multifaceted manner-allowing for navigation, interaction, auditory guidance, and the examination of textural details as if handling the artifacts directly. Further analysis of participant responses in terms of visual cognition and aesthetic appreciation across different settings demonstrates that this dual-mode mixed visualization delivers not only a spatiotemporal experience consistent with the real world but also surreal visual effects. This immersive experience allows audiences to experience Sanxingdui art intimately, offering both high-resolution visuals and cost-effectiveness.

Virtual reality (VR) is increasingly employed in various domains, notably enhancing learning and experiences in cultural heritage (CH). This study examines the effects of gamified and non-gamified VR experiences within virtual museum environments, highlighting the concept of a digital twin and its focus on cultural heritage. It explores how these VR modalities affect visitor motivation, engagement, and learning outcomes. For this purpose, two versions were developed: a gamified virtual reality version incorporating interactive gaming elements like achievements, profiles, leaderboards, and quizzes and a non-gamified virtual reality version devoid of these elements. This study, using an experimental design with 76 participants (38 in each group for the gamified and non-gamified experiences), leverages the Wieng Yong House Museum’s digital twin and its fabric collection to assess the educational and experiential quality of virtual museum visits. The findings indicate that while gamification significantly boosts the reward dimension of visitor engagement, its influence is most pronounced in the effort dimension of motivation; however, its impact on learning outcomes is less marked. These insights are instrumental for integrating VR and gamification into museum environments.

The design and implementation of virtual museums have evolved over decades, broadening the scope of traditional museum exhibitions and serving as an effective complement to physical museums. However, virtual visual effects have consistently fallen short of replicating the authentic exhibition experience and cannot substitute for physical museums. In this paper, we report a dual-mode mixed visualization system combining computational photography and binocular stereo vision techniques, and introduce an innovative virtual museum for Sanxingdui bronzes. This approach enables visitors to engage with the artifacts in a multifaceted manner-allowing for navigation, interaction, auditory guidance, and the examination of textural details as if handling the artifacts directly. Further analysis of participant responses in terms of visual cognition and aesthetic appreciation across different settings demonstrates that this dual-mode mixed visualization delivers not only a spatiotemporal experience consistent with the real world but also surreal visual effects. This immersive experience allows audiences to experience Sanxingdui art intimately, offering both high-resolution visuals and cost-effectiveness. [ABSTRACT FROM AUTHOR]

Virtual reality (VR) is increasingly employed in various domains, notably enhancing learning and experiences in cultural heritage (CH). This study examines the effects of gamified and non-gamified VR experiences within virtual museum environments, highlighting the concept of a digital twin and its focus on cultural heritage. It explores how these VR modalities affect visitor motivation, engagement, and learning outcomes. For this purpose, two versions were developed: a gamified virtual reality version incorporating interactive gaming elements like achievements, profiles, leaderboards, and quizzes and a non-gamified virtual reality version devoid of these elements. This study, using an experimental design with 76 participants (38 in each group for the gamified and non-gamified experiences), leverages the Wieng Yong House Museum's digital twin and its fabric collection to assess the educational and experiential quality of virtual museum visits. The findings indicate that while gamification significantly boosts the reward dimension of visitor engagement, its influence is most pronounced in the effort dimension of motivation; however, its impact on learning outcomes is less marked. These insights are instrumental for integrating VR and gamification into museum environments. [ABSTRACT FROM AUTHOR]

In recent years, the digitization of cultural heritage has been favored by significant advancements in specific technologies, such as photogrammetry and three-dimensional scanning. The digital representations of artifacts, paintings, books, and collections, as well as buildings or archaeological sites, has led to the transfer of cultural organizations to the digital space. On the other hand, the rapid development of immersive technologies and the Internet of Things is expected to decisively shape virtual cultural heritage in the coming years. However, this digital transition should expand its impact on most of the population. This article aims to cover the lack of structured methodology in the design and development of inclusive virtual spaces in cultural heritage. This research introduces a holistic framework that is mainly based on the disciplines of virtual museology. The proposed methodology takes into account the advancements in extended reality and the creative industry of computer games. The multisensory approach would lead to advanced immersive experiences, while the multilayered approach of cultural heritage content would enhance accessibility in inclusive virtual spaces. Moreover, this holistic framework could provide evidence from the virtual worlds that could be applied to real cultural heritage organizations. [ABSTRACT FROM AUTHOR]

Copyright of Sport & Tourism Central European Journal / Sport i Turystyka Srodkowoeuropejskie Czasopismo Naukowe is the property of Jan Dlugosz University in Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the past decade, virtual museums have rapidly evolved due to technological advancements, and after the COVID-19 disruption grew in importance, this sustained the innovation of storytelling and the digital transformation of touristic practices. This paper presents the outcomes of a cooperation project: a virtual museum for eight ports in the Adriatic area, constituting notable examples of widespread heritage. The platform Adrijo is a multi-scalar, multilayer virtual museum that leverages the concept of geo-storytelling and e-tourism, also applying two augmented reality technologies for site-specific installations. In addition to the project results, an assessment of the different levels and experiences is provided, based on qualitative and qualitative analysis. As a re-usable resource, the technical tender specification from the methodological work package is presented, encompassing details of the technology, structure, functionalities, costs, timing for realization, and accessibility for disabled people. This paper proposes, through the critical analysis of the VM, a methodology that can be reused in other contexts, also providing toolkits for both its implementation and user satisfaction surveys, as well as for analyzing the strengths and weaknesses of some specific examples. The goal of the present research is thus to establish a consolidated methodological framework for designing, developing, implementing, and assessing a virtual museum, fully featured with 3D models and augmented reality technologies. [ABSTRACT FROM AUTHOR]

This paper discusses three case studies of early science museum-related websites in the 1990s and early 2000s, when web technology was still relatively new and evolving. The Virtual Museum of Computing (VMoC) was a completely virtual museum, originally produced in 1995 as part of the Virtual Library museums pages (VLmp), an international online museum directory within the WWW Virtual Library, adopted by the International Council of Museums (ICOM). The Science Museum in London was one of the first museums in the United Kingdom to have its own web server. The museum hosted an early meeting on web service provision by and for museums, concurrently with an exhibition on the Information Superhighway at the museum in 1995. Exhiblets were launched online in 1998. Ingenious was a multi-site digital collections transformation project, launched as a website in 2003. Virtual Leonardo and Leonardo's Ideal City were two experiments conducted by the digital team of the Science and Technology Museum of Milan, between 1999 and 2001. The experiment consisted of the creation of a shared online 3D world, namely a reconstruction of the real museum in the first case and a completely imaginary world in the second case. This paper describes the above three case studies from the early World Wide Web and then draws some conclusions, from first-hand experience of developments at the time. We cover both the advantages and the challenges encountered by the various projects and illustrate why they did not necessarily become established, despite promising early results. [ABSTRACT FROM AUTHOR]

This study explored the effects of a self-adapted mobile concept mapping-based problem-posing (CMPP) approach applied in a virtual museum context. To investigate the effectiveness of the proposed approach, a quasi-experimental design was applied to compare the critical thinking tendency, meta-cognition tendency, problem-solving tendency, computational tendency, cognitive load, and flow experience of college level students using the self-adapted mobile CMPP approach to those using the conventional mobile-based problem-posing and points-listing approach. A total of 56 university students from two classes were involved in the experiment. The two classes of students adopted different approaches to learning in the virtual museum for comparing their critical thinking tendency, meta-cognition tendency, problem-solving tendency, and computational tendency as well as flow experience and cognitive load. One class with 29 students was the experiment group adopting the self-adapted mobile CMPP approach, while the other class with 27 students was the control group using the conventional mobile-based learning approach. The results of the study showed that the proposed strategy could significantly improve learners' critical thinking tendency, meta-cognition tendency, problem-solving tendency, and computational tendency compared to the conventional approach. Though the proposed approach raised slightly higher flow experience and cognitive load, there was no significant difference between the flow experience and the cognitive load of the proposed approach and that of the control group. The interview results complemented the experimental results and indicated that the proposed approach was effective in terms of developing learners' thinking capability, knowledge construction, and self-learning capability. [ABSTRACT FROM AUTHOR]

The article justifies the expediency of training specialists in the field of tourism by means of museum virtualization. It is emphasized that the development of modern information technologies shapes the theory and practice of electronic education. Various definitions of the term ‘virtual museum’, types of virtual museums, criteria for their classification, reasons for popularity, and the history of their development are partly presented. It is emphasized that virtual museums are characterized by structural and functional diversity and are of great importance for the development of cultural tourism. The results of a student survey are presented, confirming the feasibility of using virtual tours in the educational process: it is interesting for students, increases the level of mastery of professionally-oriented knowledge and skills, promotes the development of a sustained in-depth interest in communication with museum objects, the development of creative abilities, the formation of media competences. It is shown that virtual museums provide an opportunity to fill the learning process with new interesting content through the use of modern Internet technologies.

Over the past decade, virtual museums have rapidly evolved due to technological advancements, and after the COVID-19 disruption grew in importance, this sustained the innovation of storytelling and the digital transformation of touristic practices. This paper presents the outcomes of a cooperation project: a virtual museum for eight ports in the Adriatic area, constituting notable examples of widespread heritage. The platform Adrijo is a multi-scalar, multilayer virtual museum that leverages the concept of geo-storytelling and e-tourism, also applying two augmented reality technologies for site-specific installations. In addition to the project results, an assessment of the different levels and experiences is provided, based on qualitative and qualitative analysis. As a re-usable resource, the technical tender specification from the methodological work package is presented, encompassing details of the technology, structure, functionalities, costs, timing for realization, and accessibility for disabled people. This paper proposes, through the critical analysis of the VM, a methodology that can be reused in other contexts, also providing toolkits for both its implementation and user satisfaction surveys, as well as for analyzing the strengths and weaknesses of some specific examples. The goal of the present research is thus to establish a consolidated methodological framework for designing, developing, implementing, and assessing a virtual museum, fully featured with 3D models and augmented reality technologies.

The objective of this project that is described in this paper was to introduce the little-known Harran School of the medieval Islamic period located in Southeast Türkiye to a broader audience using virtual reality technologies. 3D models of the medieval Inner Castle in the Harran archaeological site and one of its saloons were created using photogrammetric methods. In this main saloon, 3D models of artifacts found during excavation works on this site that were used in medieval and earlies times were placed in a museum-like style. Additional objects, illumination and paintings of great Islamic scholars were appended to create a more realistic setting in the saloon. All these 3D models were transferred to the game engine Unity to generate a virtual environment, in which the visitor can immerse. Currently, this virtual museum can be experienced by PC-based head-mounted devices. While different implementations of virtual museums are already available in Türkiye with this project, a museum deploying virtual reality technology has been realized for the first time. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the possibilities of applying immersive technologies for the preservation of cultural heritage, using their implementation in various museums as an example. A classification of images using machine learning methods was carried out on a small number of exhibits from the A. Kasteev Museum (Almaty, Kazakhstan), achieving high accuracy. Different aspects of implementing a mobile application for the museum with an integrated exhibit recognition system were examined. Directions for further research were identified. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Computer Sciences Institute is the property of Lublin University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Proceedings of the Faculty of Economics & Business in Zagreb / Zbornik Ekonomskog Fakulteta u Zagrebu is the property of Ekonomski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Ibero-Americana de Ciência da Informação is the property of Revista Ibero-Americana de Ciencia da Informacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ereğli Faculty of Education Journal / Necmettin Erbakan Üniversitesi Ereğli Eğitim Fakültesi Dergisi is the property of Eregli Faculty of Education Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the past decade, virtual reality has been quickly growing in popularity across disciplines including the fields of archaeology and cultural heritage. Despite numerous artifacts being uncovered each year by archaeological excavations around the world, only a select few are displayed and recorded in museums while the rest remain hidden away in storage facilities. The creation of virtual reality museums provides a potential solution to this problem. This project aims to optimize a computational workflow for digitally documenting these artifacts and designing virtual museum spaces for them to be displayed online. This project focuses on a selection of the most representative artifacts that have been conserved and restored from the Necropolis of Baley collection of burial vessels from Bulgaria. The prehistoric settlement of Baley dates to the Bronze and Early Iron Age in the Middle and Lower Danube Basin and the collection thus far includes over 450 burial artifacts. Through the use of photogrammetry and 3D scanning, photorealistic 3D models were created and used as the basis of a virtual exhibition to showcase this important collection to the public and scientific community that can easily be shared online. A comparison of the 3D results from the photogrammetry and the 3D scanner was conducted to determine the optimal workflow for large-scale documentation of archaeological artifacts. This project showcases the applications of integrating documentation techniques in an online environment in order to showcase important collections to the public in an interactive way to promote cultural heritage to the public that may otherwise be unavailable.

A scientific method for evaluating the design of interfaces is proposed to address the unique characteristics and user needs of infrequent-contact public service interfaces. This method is significant for enhancing service efficiency and promoting the sustainable development of public services. Current interface evaluation methods are limited in scope and often fail to meet actual user needs. To address this, this study focuses on virtual museums, examining users’ aesthetic psychology and cognitive behavior in terms of layout aesthetics and visual cognitive characteristics, aiming to explore the relationship between the two. Interface layout aesthetic values and user visual cognitive measurements were obtained by using computational aesthetics methods and eye-tracking experiments. These served as input data for a new model. An improved gray H-convex correlation model utilizing the ICRITIC method is proposed to examine the mapping relationship between interface layout aesthetics and visual cognitive features. The results demonstrate that our new model achieves over 90% accuracy, outperforming existing models. For virtual museum interfaces, symmetry and dominance significantly influence user visual cognition, with the most notable correlations found between density and gaze shift frequency, simplicity and mean pupil diameter, and order and gaze shift frequency. Additionally, fixation duration, fixation count, and mean pupil diameter were inversely correlated with interface layout aesthetics, whereas gaze shift frequency and gaze time percentage were positively correlated.

At present, there are problems of insufficient conservation and heritage and single display channels in the field of museums. In the background of digital era, innovative new museum display mode and interaction mode can bring new exhibition experience for visitors. In this paper, we study the key technologies such as 3D scene visualization, facility and equipment simulation, and human-computer interaction simulation. Based on virtual reality and augmented reality, somatosensory interactive digital technologies, an interaction engine under multiple classifiers is proposed, an online virtual museum design strategy is built, and an all-round, multi-angle, three-dimensional interactive museum display platform is constructed. A quantitative analysis method based on the policy consistency index model is proposed to conduct user measurement and post-use evaluation of the conceived virtual museum. The application results show that the design platform can intuitively display the complex environment of an intelligent digital museum, support the development of immersive virtual roaming and virtual touch, and provide a new way to visit a new type of interactive museum.

• In virtual reality, visitor experience is affected by representational fidelity. • Reality-based environments show high representational fidelity. • Virtuality-based environments do not reflect the physical world. • The reality-based environment scored significantly higher for communication. • The virtuality-based environment encouraged more active movement. The growing interest in the metaverse has led to a corresponding increase in attention towards virtual reality (VR) exhibitions. Furthermore, with the potential and possibility of a virtual environment without physical and economic constraints, expectations for user experiences based on diverse exhibition environments are increasing. Accordingly, this study investigated the characteristics of visitor experience in relation to the spatial environment of VR exhibitions, particularly focusing on the representational fidelity of the real-physical world. We experimented with comparing the user experience in reality-based (realistically representing the physical world, high representational fidelity level) and virtuality-based (surreal, low representational fidelity level) VR exhibition settings to explore design implementation. User experience data were collected through surveys, behavioral observation by video recording, and interviews. In terms of surveys, there was no significant difference in presence and enjoyment by environment, but the reality-based environment was scored significantly higher for communication. The behavioral analysis found that more active movements were captured in the virtuality-based environment. Qualitative analysis of the interview found differences in perception, emotions, and behavior by spatial environment, such that the newness and openness of the virtuality-based environment induced active movement of participants, and the familiarity of the reality-based environment provided comfortable feelings and supported participants' concentration on exhibition contents. The results of the study suggest how the spatial environment of VR exhibitions can contribute to user experiences. [ABSTRACT FROM AUTHOR]