Analysis of Virtual Museums in Terms of Design

Education and Information Technologies (2023) 28:8945–8973
https://doi.org/10.1007/s10639-022-11561-z
Analysis of virtual museums in terms of design

and perception of presence
Zeynep Tatlı1 · Göksel Çelenk1 · Derya Altınışık1
Received: 16 June 2022 / Accepted: 22 December 2022 / Published online: 4 January 2023
© The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature
2023
Abstract
In this study, it is aimed to examine and analyze virtual museums in accordance
with design and perception of social presence. In this context, virtual museums that
offer free access internationally were identified and accepted as documents. Docu-
ment analysis, one of the qualitative research methods, was used in the study. Each
of the virtual museums examined was subjected to content analysis and divided
into groups according to the characteristics they have and do not have. The sam-
ple of the study consists of 352 virtual museums. “The Virtual Museum Review
Form” created by the researchers was used in order to examine the determined vir-
tual museums. Within the scope of the study, virtual museums were analyzed under
seven categories, such that type of artwork, transfer to virtual environment, pres-
entation, transition, navigation, guidance and virtual reality support. Virtual muse-
ums are divided into eight categories according to the type of work (culture-art,
history, composite, military, archeology, science/technology, industrial and natural
museum). It has been determined that most of the virtual museums examined are
transferred to the virtual environment as an exact copy of the museums existing in
real life. Virtual museums are divided into three as 2D/3D object, pop-up and link,
according to the type of information they present to their visitors. Most of the virtual
museums examined offer semi-flexible, flexible or non-flexible guidance services to
their visitors. As a result of the study, it is suggested that the examined virtual muse-
ums be classified under 3 sub-headings as “type of artwork”, “type of transfer to vir-
tual environment”, and “type of presentation” according to their designs and under 4
* Zeynep Tatlı
ztatli@trabzon.edu.tr
Göksel Çelenk
gokselcelenk@trabzon.edu.tr
Derya Altınışık
derya0380@gmail.com
1
Department of Computer and Educational Technology, Trabzon University, Söğütlü Mah.
Adnan Kahveci Bv. Trazbon Üniversitesi, Fatih Eğitim Fakültesi, F Blok, Trabzon, Turkey
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Vol.:(0123456789)
8946 Education and Information Technologies (2023) 28:8945–8973
sub-headings as “type of transition”, “type of navigation”, “guidance”, and “virtual

reality support” according to their social presence perceptions.
Keywords Museum · Virtual Museum · Social Presence · Design
1 Introduction
Museums physically opened their doors to schools for the first time in the 19th cen-
tury, and have supported the education process by lending the artworks they housed
to schools since then (Coombes, 2019). Museums had started to hold exhibitions
in different fields (nutrition, health, childcare) during the First World War (Jaeger,
2022; Obermark, 2022). The changing needs and structures in the process have also
affected the definition of museums. Established in the 20th century, ICOM (Interna-
tional Council of Museums) used the expression “a permanent institution that con-
tains scientific and cultural values and exhibits its collections for the purposes of
education and enjoyment” in the museum definition by prioritizing the educational
purpose of museums (ICOM, 1974). ICOM put forward the necessity of transform-
ing museums from an object-centered structure to a visitor-oriented and experience-
based structure in 1974, and redefined the term of museum as “a non-profit making,
permanent institution in the service of the society and its development, and open to
the public, which acquires, conserves, researches, communicates, and exhibits, for
purposes of study, education and enjoyment, material evidence of man and his envi-
ronment” (ICOM, 2003). The museum term has gained its current definition at the
conference held in Vienna in 2007 as “a non-profit, permanent institution in the ser-
vice of society and its development, open to the public, which acquires, conserves,
researches, communicates and exhibits the tangible and intangible heritage of
humanity and its environment for the purposes of education, study and enjoyment.”
(ICOM, 2006). With this definition, the task content of the museum has been raised
from people and their environment to the intangible and tangible heritage of human-
ity. Educational museum visits are hosted in the 21st century for the purpose of “cre-
ating an active learning and development area that centers the student in the light of
basic education theories and principles within the determined subject” (The Minis-
try of National Education of Turkey, 2008). Students interact with each other, gain
affective/perceptual skills, support high-level thinking skills such as problem solv-
ing and critical thinking, and gain the ability to interpret the future by understanding
the past and present with museum tours (Çakır İlhan et al., 2012; Karaosmanoğlu,
2017) and it is aimed to develop an aesthetic point of view (Demirboğa, 2010; Genç
& Buyurgan, 2018; Okvuran, 2017).
Museum education cannot be carried out adequately due to reasons such as
safety, health, financial limitations and time management, despite the numerous
benefits stated (Bülbül, 2017; Tatlı et al., 2021; Uslu, 2021). In this case, vir-
tual museums in education appear as an alternative learning environment. Vir-
tual museums are basically defined as “wall-less museums” that are independent
of physical space and that visitors can access whenever they want (Schweibenz,
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Education and Information Technologies (2023) 28:8945–8973 8947
2004; Syarifuddin et al., 2017). These museums use the possibilities of informa-
tion technologies in different ways, and visitors living in different parts of the
world examine the artworks exhibited in the museum through different technol-
ogies from interactive web pages to virtual reality applications (Cultraro et al.,
2009; Sungur & Bülbül, 2019). At ICOM’s 25th General Conference in Japan
in 2019, the definition of a Museum was redefined as: “It collects, preserves,
researches, interprets, exhibits, and exhibits in order to contribute to human dig-
nity and social justice, equality and well-being, encompassing the entire world
and humanity, actively works with various communities to enhance understand-
ings of the world in this direction. It is a democratising, inclusive, participatory,
transparent and polyphonic space for critical dialogue about the pasts and the
futures”. In this context, ICOM emphasized that museums should define the con-
flicts and challenges of today without making a profit, and provide equal rights
for people from all walks of life to access cultural heritage and to secure the arti-
facts and culture that they are obliged to protect on behalf of society for future
generations (ICOM, 2019). In this renewed definition, providing equal rights for
access to cultural heritage is a reference to virtual museums.
Different definitions have been made by researchers for virtual museums. McKen-
zie (1997) expressed the virtual museum as an online platform that digitizes its col-
lections without the need for a place. Andrews (1998) stated that a virtual museum is
a collection gathered by associating digital objects created in different environments
with each other. On the other hand, Schweibenz (2004) defines virtual museums as
museums that contain digitized objects and information about these objects, pre-
pared using different multimedia tools, and that offer worldwide access on an online
platform without the need for physical space. In line with the definitions made in the
relevant literature, virtual museums are classified under different categories. Mcken-
zie (1997) examined virtual museums under two categories: marketing museum and
learning museum.
• Marketing museum: These are the websites prepared to inform the visitors
about the collections and special events about the museum. The purpose of such
museums is to inform the visitors and increase the number of visitors.
• Learning museum: Learning museums have quite different characteristics from
marketing museums. In such museums, the content is rich and in the foreground.
The interface of the museum is prepared invitingly in order to increase the num-
ber of visits. The main purpose of the learning museum is to offer learning activ-
ities to visitors of different age levels and learning styles (McKenzie, 1997).
Museums are one of the institutions that support the educational process of stu-
dents (Karaosmanoğlu, 2017). However, the only task of museums is not to sup-
port the educational and informational process of visitors or students. Museums also
have missions such as protecting local and cultural values, transferring these values
to subsequent generations, conducting research by researchers, and exhibiting prod-
ucts that have emerged with technological developments (ICOM, 2019). For these
reasons, the classification made by McKenzie (1997) is insufficient to classify the
purpose of the preparation of today’s virtual museums and the variety of artworks
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they offer. Schweibenz (2004), who has similar views, classified virtual museums in
a different way than McKenzie (1997). Schweibenz (2004) classified virtual muse-
ums under four categories as brochure museum, content museum, learning museum
and virtual museum.
• The brochure museum: Websites prepared to inform visitors about museum col-
lections, visiting hours, contact information.
• The content museum: A type of virtual museum where a detailed description of
museum collections is made. Since it is not prepared as a tutorial, it appeals to
experts. It gives priority to the content of the museum.
• The learning museum: Education is at the forefront in learning museums. Dif-
ferent access points are offered according to the ages and preliminary informa-
tion of the visitors. The museum is prepared as a tutorial and directs the visitor
to obtain information in line with their interest and to visit the museum again and
again in this process.
• The virtual museum: It is advanced version of learning museum. It allows con-
nection not only with the museum to which it is affiliated, but also with different
digital collections (Schweibenz, 2004).
Schweibenz (2004) used the expression virtual museum again in one of the cat-
egories he used when classifying virtual museums. In this case, one of the types
of virtual museums again appears as a virtual museum and may cause confusion
of concepts. For example, in some of today’s virtual museums, extra content about
works and artists is offered through pop-ups or links. According to the classification
made by Schweibenz (2004); these types of museums are located within the virtual
museum, which is one of the varieties of virtual museums. This situation may lead
to confusion in the categorization of virtual museums. Besides, spatial museums
incorporate artworks for different purposes such as archaeology, art, history, eth-
nography, nature/natural history, science, geology, industrial, military, and artworks
towards Intangible Cultural Heritage (Ambrose & Paine, 2006). The diversification
of spatial museums has also been reflected in virtual museums and has caused them
to diversify as well. This situation may also make it difficult to classify the virtual
museums that exist today in terms of content with the classification made by Sch-
weibenz (2004).
Virtual museums support students’ learning in a positive way (Gilic, 2020). The
effect of students’ affective status and social existence should also be considered in
the realization of meaningful learning in the virtual environment. This situation is
expressed as social presence in the literature (Garrison, 2013). Social presence is
a popular construct used to understand how individuals interact socially in online
learning environments (Whiteside, 2015). At the same time, it is an important ele-
ment that supports and facilitates the communication of users with each other in the
virtual environment and enables them to learn meaningfully (Oztok & Brett, 2011).
Therefore, there are difficult but important elements to be realized in virtual learning
environments such as making students be in the virtual environment, ask questions
about the environment, work with a group, feel belonging to a group, and be socially
present (Garrison & Arbaugh, 2007). It is stated that users experience emotions
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such as curiosity, excitement, happiness, pride, sadness, and surprise in some virtual
museum tours (Tatlı et al., 2021; Turgut, 2015). This is an indication that virtual
museums create a sense of presence on their visitors by taking them away from the
place and time they are in. Perception of presence refers to the “feeling of being
there” (Ijsselsteijn & Riva, 2003; Wang et al., 2010). Presence in the virtual envi-
ronment is defined as the individual’s feeling as if they are in the virtual environ-
ment or as if they belong to that environment (Hofmann & Bubb, 2003). Some ele-
ments should be supported in order to create a sense of presence, such as the sense
of physical space that can make individuals experience “being there” physically in
the virtual environment, the tendency to participate in the process by focusing on the
virtual environment rather than the physical variables around them, and the percep-
tion of the virtual environment as consistent and credible (Takatalo et al., 2008).
Different researchers have emphasized that different features should be considered
regarding social presence and design in order to create a sense of presence in vir-
tual environments. It has been determined that some elements directly affect the
users’ perception of virtual presence, such as the use of realistic transition effects
and movements in the design (Turchet, 2015), the preference of three-dimensional
environments over two-dimensional ones (Ribeiro & Monteiro, 2015), the presence
of visually comprehensive and detailed real images (North & North, 2016; Tepe,
2019) the interface quality (Tran et al., 2019) and the multimedia elements (Kern &
Ellermeier, 2020).
The classifications of virtual museums differ periodically in the literature, but the
classifications made are in line with the purposes and contents of the museums. The
virtual museum classifications put forward in the related studies (Mckenzie, 1997;
Schweibenz, 2004) bring with it the necessity of considering the virtual museums
from a different perspective within the scope of the design features and social pres-
ence perception, in line with the definition made by ICOM in 2019.
2 Purpose of the research questions
The aim of this study is to examine and classify virtual museums offering free
access internationally, in line with the perception of design and social presence. In
this context, the problems of the study are as follows:
1. The design features
• What are the types of artworks exhibited in the examined virtual museums?
• What are the types of transfer to the virtual environment of virtual museums
examined?
• What are the methods of presenting information about the artifacts in the exam-
ined virtual museums?
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2. The perception of social presence
• What are the types of transitions presented in the virtual museums examined?
• What are the types of navigation that the examined virtual museums offer to their
users?
• What are the types of guidance offered in the virtual museums examined?
• Is there VR support in the virtual museums examined?
3 Method
In order to illustrate the research methodology, research procedures and mecha-

nisms, and the summary of the study process is presented in Fig. 1. The research
model, the sample, data collection tools and data analysis are explained in detail
under the relevant headings.
3.1 Research model
Document analysis (Sönmez & Alacapınar, 2016) was used in the study, which is
one of the qualitative research methods. Document analysis is defined as the collec-
tion of written or visual materials and their examination within the scope of deter-
mined categories. Many materials such as articles, theses, research reports, dances,
plays, clothes, ranks, epics, films, photographs, etc. can be analyzed by document
analysis (Sönmez & Alacapınar, 2016). Virtual museums were accepted as docu-
ments in the study. In the study, virtual museums were accepted as documents. Each
of the virtual museums examined was subjected to content analysis and divided into
categories according to the characteristics they have and do not have.
3.2 Research sample
The sample of the study consists of 352 virtual museums. The keywords "virtual
museum", "virtual museum tour" and "virtual tour" were entered into search engines
in order to access the virtual museums. The links of virtual museums were reached
based on the results obtained. All of the virtual museums that can be visited fully
free of charge are included in the sample of the study. While 54% (f = 190) of the
virtual museums included in the sample belong to private institutions and individu-
als; 46% (f = 162) belong to public institutions. The distribution of the virtual muse-
ums examined by countries is included in Fig. 2.
The origin of 9 of the virtual museums in the sample of the study is not any coun-
try. These nine virtual museums have been prepared in a fictional virtual environ-
ment without establishing a connection with a real museum. The remaining 343
museums were created by transferring whole or part of the museum belonging to a
particular country to a virtual environment. Considering the sample included in the
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Fig. 1 The research methodology
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Fig. 2 Distribution of virtual museums examined by countries within the scope of the research
study; USA (f = 72), Turkey (f = 69) and Russia (f = 65) are the countries with the
highest number of virtual museums.
62.5% of the virtual museums examined within the scope of the study contain
auxiliary toolbars that help visitors navigate in the direction they want and allow
existing features to be used or disabled. 37.5% do not include toolbars that support
interaction between the visitor and the virtual museum.
While visiting a virtual museum, it is sufficient for the visitors to have basic com-
puter knowledge and the ability to use the internet (Çalışkan et al., 2016). 82.10% of
the examined virtual museums can be visited by visitors via their own domain with-
out the need for any additional software. However, 17.90% of them need additional
software (flash, java, etc.) to be visited. The websites of virtual museums provide
directions so that this software can be installed on the devices used.
3.3 Data collection tools
“Virtual Museum Review Form” was used to examine virtual museums in the study.
"Virtual Museum Review Form" was prepared by three researchers within the scope
of the study. In this process, it is important that all three researchers agree on the
determination of the criteria and reach a consensus for the reliability of the process:
• Before preparing the virtual museum review form, the relevant literature was
examined and the features in museums and virtual museums were determined.
• A draft review form was prepared based on the relevant literature.
• Using the prepared draft form, 50 virtual museums that were not included in the
research were examined. The items in the draft form were revised and new items
were added based on the features found in virtual museums.
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Fig. 3 Example screenshot of the virtual museum review form transferred to the Excel sheet
• A final form with 12 items was created based on the literature and the character-
istics of virtual museums.
The prepared virtual museum review form was transferred to an Excel sheet.
In this way, all data was processed into the Excel sheet while visiting the virtual
museum. Figure 3 is the example screenshot of the virtual museum review form
transferred to the Excel sheet.
Within the scope of the study, virtual museums were categorized as sub-
headings taking into account the features as URL address, which organization
developed it, how it was transferred to the virtual environment, toolbar fea-
tures used, type, multimedia used, modeling used (2D/3D), guidance type, VR
support, cursor motion, viewing the location found, marking the curated/non-
roaming museum areas, and map support. These sub-headings were created and
included in the study taking into account the properties of the museums vis-
ited upon agreement by the researchers. Thus, the types of the virtual museums
examined were identified considering the content they offer and Museum Name
/ URL address.
3.4 Data collection and analysis
The data of the study were collected by examining virtual museums through the
“Virtual Museum Review Form” transferred to the Excel sheet. Content analy-
sis was used while examining the features of virtual museums. Content analysis
is a systematic process used to describe the content covered (Merriam, 2013).
The features of the examined document are classified under the categories deter-
mined during the process in content analysis, then the features of the exam-
ined documents are determined by counting the features within the categories
(Bloor & Wood, 2006). Each item in the form developed during the process was
defined one by one by the researchers in the study, and the each one of them was
explained. In this way, each virtual museum has been placed under the appropri-
ate category based on the characteristics of the museum. The first thirty muse-
ums were examined separately by two researchers in order to avoid any con-
fusion during the examination. The examination results of the two researchers
were compared with each other and it was observed that there was no difference
between them. Then the Excel file was transferred to the online platform. In this
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way, it was ensured that two researchers work independently on a single file.
After the examination of the virtual museums was completed, the percentage
and frequency distributions of the features in the virtual museums were calcu-
lated using Excel. All the results obtained are presented with tables, images and
infographics in the study.
4 Findings
352 virtual museums were categorized according to the type of artworks they exhibit,
the type of transfer to the virtual environment, the types of transitions, the types of
navigation they offer to their users, the type of guidance, the type of information pres-
entation about the artworks, and whether they provide VR support. The findings and
discussion obtained with this classification are included in this section.
5 Findings regarding the design features of virtual museums
5.1 Findings on the types of artworks exhibited in virtual museums
Virtual museums are analyzed according to the type of artworks they exhibit. The
examined virtual museums are classified under eight categories as culture-art museum,
history museum, composite museum, military museum, archeology museum, industry
museum, science-technology museum, and nature-natural history museum, according
to the type of works they exhibit. All of the virtual museums examined were experi-
enced by the researchers in the virtual environment. Then, considering the majority of
the exhibits and the title of the virtual museum, the works exhibited in the virtual muse-
ums were divided into sub-headings according to their types.
The distribution of the examined virtual museums according to the artworks they
exhibit is given in Table 1.
Considering the majority of the exhibits, when the museums divided into sub-
headings are examined, culture-art (f = 156) and history (f = 86) museums are among
the most common types of virtual museums. Virtual museum samples are included in
Fig. 4 according to the type of works they exhibit.
5.2 Findings on types of transfer to virtual environment of virtual museums
Museums have been transferred to the virtual environment in different ways. Virtual
museums are analyzed according to the way they are transferred to the virtual environ-
ment. These categories are included in Table 2.
Virtual museums are classified under three categories as real, semi-real and fictional
according to the way they are transferred to the virtual environment. Most of the exam-
ined virtual museums (54%) are real virtual museums that have been transferred to
the virtual environment exactly in the same form with the real museums. Few of them
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Table 1 Virtual museums by the artworks they exhibit
Types of Artworks Exhibited in Virtual f Descriptions
Museums
Culture-Art Museum 156 Art galleries, art museums, museums with cultural objects and artifacts are under this category
History Museum 86 Museums dealing with historical events and important people in the region are included in this category
Composite Museum 37 Museums that contain different types of artifacts such as archaeological artifacts unearthed in the region,
ethnographic artifacts describing the lifestyle of the people living in that region are included in this
category
Military Museum 19 Museums that reflect the social, historical and technical development of military forces
Archeology Museum 17 These are the museums where the artifacts unearthed by archaeological excavations in the region are
exhibited
Science/Technology Museum 14 Museums dealing with science and technology and trying to direct their visitors to science and scientific
knowledge are under this category
Industrial Museum 14 Museums exhibiting the development of a particular product or industry in the region
Natural/Natural History Museum 9 Museums dealing with nature and natural life parks are under this category
8955
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a -Culture-Art Museum b-History Museum c -Composite Museum d-Military Museum
e -Archeology Museum f -Science/Technology g-Industrial Museum h-Natural/Natural

Museum History Museum
Fig. 4 Sample images of the works exhibited in virtual museums
(10.51%) are fictional virtual museums created in hypermedia. Sample images of real,
semi-real and fictional museums are shown in Fig. 5.
5.3 Findings on the types of information presentation of the artworks

in the examined virtual museums
Virtual museums present the artworks they preserve and detailed information about
them to their visitors in different ways. The artworks in virtual museums and the
types of presenting information about them are included in Table 3.
All of the virtual museums offer their visitors the artworks in 2D or 3D. In addi-
tion to this presentation type, some of the examined museums (f = 89, 25.28%) offer
detailed information to their visitors via informative pop-ups (f = 70) and links
(f = 19). Virtual museum examples that offer information about the artworks they
exhibit through two- or three-dimensional objects, pop-ups and links are involved in
Fig. 6.
6 Findings related to perception of social presence in virtual

museums
The examined virtual museums were analyzed based on the criteria of “transition
type”, “navigation type”, “guidance type” and “Virtual reality technology support
(VR)” under the perception of social presence sub-title.
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Table 2 Virtual museums according to the types of transfer to the virtual environment
Types of Transfer to Virtual Environment of f Descriptions
Virtual Museums
Real Museum 190 These are virtual museums created by fully transferring a real museum to the virtual environment with its
all components
Semi-Real Museum 125 Virtual museums in which a part of a real museum or certain type of artifacts are exhibited
Fictional 37 It is a type of virtual museum that does not exist in reality, but created in a hyper-environment
8957
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a -Real Museum b-Semi-real Museum
c -Fictional Museum
Fig. 5 Sample images of real, semi-real and fictional virtual museums
6.1 Findings on the types of scene transitions offered in virtual museums
Virtual museums consist of a scene or scenes. There is no transition in museums

consisting of a single scene. Users are positioned in the center of the museum and
are allowed to tour the museum by turning around. In museums consisting of more
than one scene, transitions from one scene to another are designed in different ways.
Virtual museums are categorized in this section according to the transitions in vir-
tual museums. These categories are included in Table 4.
68 of the examined virtual museums consist of a single scene. Since they con-
sist of a single scene, there is no transition between the scenes. The remaining 284
museums consist of more than one scene. While visiting the museum, visitors move
from one scene to the next. These transitions are with effects (f = 252) or realistic
(f = 32). Most of the transitions used in virtual museums are with effects (71.60%).
The effects used in virtual museums are teleport (f = 193), fade out (f = 53) and dis-
solve (f = 6). The most commonly used effect in transitions is teleport. The transi-
tions are realistically designed in a very small part of virtual museums (9.09%).
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Table 3 Virtual museums by type of information presentation
Virtual Museums by Type of Information f Descriptions
Presentation
2D/3D Object 263 These are virtual museums that present the artworks to their visitors as 2D or 3D objects
Informative Pop-Up 70 It is a type of virtual museum that provides information to its visitors through pop-ups as well as visually
presenting the artworks

Link/URL 19 These are virtual museums that not only visually present the artworks, but also direct their visitors to web
pages where they can access more information about the artworks through links
8959
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a-2D/3D Object b-Informative Pop-Up
c-Link/URL
Fig. 6 Sample images of types of information presentation of artworks as 2D/3D object, pop-up and link
6.2 Findings on the types of navigation that the examined virtual museums offer
to their users
341 of the 352 virtual museums examined within the scope of the study have a navi-
gation feature. There is no possibility to navigate in 11 virtual museums. The exhib-
ited works are presented to the visitors in these virtual museums. The navigation
types in the virtual museums that offer navigation are categorized in Table 5.
Virtual museums offer their users free (f = 180), optional (f = 159) and auto-
matic (f = 2) navigation opportunities. The most common type of navigation is
free. The button shown in Fig. 7 exists above the toolbars of virtual museums
that offer automatic navigation.
When the visitor clicks on the button in Fig. 7 during the museum visit,
automatic navigation starts. When the navigation starts, the icon of the button
changes and takes shape. The visitor ends the automatic navigation process
by clicking on the button .
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Table 4 Virtual museums by scene transition types
Virtual museums by f Descriptions Sub-types f Descriptions
scene transition types
Transition with effects 252 It is the transition from one scene to another in the virtual Teleport 193 This type of virtual museum teleports the visitor from one
museum with effects scene to another
Fade Out 53 In such virtual museums, the scene fades out and a new
scene appears
Dissolve 6 In such virtual museums, the scene dissolves and a new

scene appears
Realistic Transition 32 Visitors move from one scene to another within the virtual
museum in a realistic way, almost as if they were walking
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Table 5 Virtual museums by navigation types
Virtual museums by navigation types f Descriptions
Free Navigation 180 In museums that offer free navigation, visitors can freely move around the museum as they wish
Optional Navigation 159 Visitors can automatically tour the museum themselves, or by using the pre-defined tour offered by the
museum if they wish
Automatic Navigation 2 Visitors can only visit the virtual museum automatically with the pre-defined navigation by the system
and cannot interfere with the process
Automatic navigation start button Automatic navigation pause button

Fig. 7 Sample images of buttons that start and stop automatic navigation
6.3 Findings on the type of guidance offered in the virtual museums examined
73.86% of the examined virtual museums also offer guidance services to their
visitors. The types of guidance that virtual museums offer to their visitors are
included in Table 6.
Types of guidance offered by virtual museums to their visitors were classified
under three categories as semi-flexible (f = 237), flexible (f = 22) and non-flex-
ible guidance (f = 1). The most used guidance type was semi-flexible in virtual
museums. Virtual museums show their visitors the ways they can go with point-
ers such as arrows and placed images in semi-flexible guidance. There are exam-
ples of the types of guidance offered by virtual museums in Fig. 8.
6.4 Findings on the use of VR in the examined virtual museums
Lastly, the virtual museums included in the sample were evaluated in terms of VR
(virtual reality technology). Only 20.17% of the examined virtual museums offer
their visitors the opportunity to visit with virtual reality technology. In order to acti-
vate the virtual reality technology and visit the museum in this way, the users must
have the necessary equipment. If the visitor has the necessary equipment, he/she
can visit the museum with virtual reality technology by clicking on the button
placed on the toolbar, as in the virtual museum in Fig. 9.
The image formed when the VR technology is activated is shown in Fig. 10.
7 Results and discussions
As a result of the study, virtual museums were classified into 3 sub-headings accord-
ing to the designs of the examined virtual museums, that are “type of artwork”,
“type of transfer to virtual environment”, and “type of information presentation”,
and into 4 sub-headings according to the perception of social presence as “type of
transition”, “type of navigation”, “type of guidance”, and “virtual reality technology
support (VR)”.
The first component of the design title is “type of artwork”. Artworks exhib-
ited in virtual museums were classified under 8 categories: culture-art, composite,
archeology, science/technology, history, military, industry, and natural history. The
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Table 6 Virtual museums by type of guidance
Virtual museums by f Descriptions Sub-types f Descriptions
type of guidance
Semi-Flexible Guidance 237 In this type of guidance, virtual museums point out the paths that
visitors can follow
Flexible Guidance 22 In these types of guidance, museums provide information about Flexible Verbal Guidance 18 In this type of guidance, virtual
artworks as well as pointing out the paths for visitors to follow museums provide verbal infor-
mation within the travel route
that the visitors follow
Collaborative/ Reflective 4 In this type of guidance, virtual
Flexible Guidance museums provide guidance
according to the interests and
wishes of their visitors
Non-Flexible Guidance 1 In this types of guidance, virtual museums set a pre-defined fixed
route for visitors and do not allow them to deviate from this route
a-Semi-Flexible Guidance b-Flexible Guidance
c-Non-Flexible Guidance
Fig. 8 Images of the types of guidance in virtual museums
Fig. 9 Images of VR technology in virtual museums
Fig. 10 Images of VR technology in virtual museums
13
classification is in line with the museum classification (general, archeology, art, his-
tory, ethnography, natural history, science, geology, industrial, military and intangi-
ble cultural heritage museums) put forward by Ambrose and Paine (2006). One of
the biggest reasons for this similarity is thought to be due to the fact that the exam-
ined virtual museums are under the category of "Real Virtual Museum" and they are
virtual versions of physical museums.
Another criterion in design is the transfer of virtual museums to the virtual envi-
ronment, that has three different ways: real, semi-real and fictional. Real virtual
museum is the name given to the new form of a physical museum created by trans-
ferring it to the virtual environment in accordance with its original. On the other
hand, semi-real museum is a museum created by transferring a part of a physically
existing museum to the virtual environment or bringing together the works exhibited
in different museums under common headings. Fictional virtual museum is prepared
in a virtual environment as a purely imaginary product. This classification also coin-
cides with the study of Paolini et al. (2000) in which they explain the relationship
between virtual and physical museums. Paolini et al. (2000) examined the relation-
ship between virtual and physical museum and categorized it under four categories
as a virtual museum website that reflects (replicates) a specific museum organiza-
tion, a virtual museum website that does not reflect a specific museum organiza-
tion, a virtual representation of a specific physical museum environment, and a vir-
tual representation of an imaginary hyper structure. The virtual representation of a
specific physical museum environment corresponds to the real virtual museum, and
the virtual representation of an imaginary hyper structure corresponds to the fic-
tional virtual museum. Within the scope of this study, a virtual museum website that
reflects (replicates) a specific museum organization and a virtual museum website
that does not reflect a specific museum organization are combined and expressed
under the title of semi-real virtual museums.
The last component in the design title of virtual museums is “information presen-
tation type”. All of the virtual museums examined offer the artworks they preserve
to their visitors in two or three dimensions. Visitors have the opportunity to examine
the artworks at any time and for as long as they want without being affected by other
visitors and without damaging the works by zooming in and out of the works pre-
sented in virtual museums. However, seventy-five percent of the examined virtual
museums only offer visual content to their visitors and do not provide extra informa-
tion about the contents. For this reason, visitors find the contents of virtual museums
insufficient (Aladağ et al., 2014) and think that they should be enriched (Altınbay
& Gümüş, 2020). By enriching the contents of virtual museums, a more effective
individual learning environment is created and visitors can benefit more from virtual
museums. In twenty-five percent of the examined museums, visitors are informed
via pop-ups and links. Twenty percent of these virtual museums provide their visi-
tors with brief information about the artworks they have examined through pop-ups.
Thanks to the pop-ups, the visitor can obtain information about the subject while
examining the artwork. Extensive information is provided to the visitors via links in
5% of the virtual museums examined. Sık-Glosset (2007) stated that virtual muse-
ums prepared in a way to generate new information for their visitors are more valu-
able and important. From this point of view, it can be said that virtual museums that
13
offer information together with artworks are more valuable than museums that only
offer artworks. Tang (2005) categorized the presentation methods in virtual muse-
ums as narrative, object and information-centered. The 2D/3D presentation method
in our study and the object category in Tang (2005)’s classification overlap with
each other. Pop-ups that present information in different ways and presentations
made via link overlap with the information-centered presentation method. A virtual
museum that presents its works in narrative style has not been found among the vir-
tual museums examined in our study. For this reason, our study does not overlap
with the narrative-centered presentation method in Tang (2005)’s classification.
One of the components that affect social presence in virtual museums is “scene
transition types”. The scene transition type can be in a “realistic” or “with effect”.
In transitions with effects, the visitor generally moves from one scene to another by
teleporting. Realistic transition is used in very few of the virtual museums. In realis-
tic transitions, the visitor can move from one place to another as if he/she is walking
in a physical museum. Felnhofer et al. (2013) argue that interfaces with different
levels of engagement can affect the feeling and intensity of presence. While teleport-
ing between spaces reminds visitors that they are in a virtual environment, realistic
transitions support the blurring of the border between virtual and real. It has been
determined that to move in between spaces as if walking increases the naturalness
and creates a sense of presence in virtual environments. (Peck et al., 2011).
Another factor affecting the perception of social presence is the “type of nav-
igation”. In this context, virtual museums offer their users “free”, “optional” and
“automatic” navigation. The most common type of navigation feature is free navi-
gation. Free navigation allows museum visitors to wander in the museum as they
wish, leaving them free. The user’s ability to direct events according to their own
will positively affects their sense of presence (Murray et al., 2007). Navigation fea-
tures presented in virtual museums in the literature are mapping, virtual navigation
along with museum floor plans, information presentation, and both navigation and
information presentation with multimedia (Sarsılmaz, 2010). The navigation fea-
ture supported by auxiliary toolbars includes features such as moving around the
museum, providing automatic navigation, and accessing the museum map. Visitors
are able to interact with the museum by using these features. In other words, aux-
iliary toolbars in virtual museums allow the interaction of the virtual and the real
(Dursun & Odabaşı, 2017; Viralingam & Ramaiah, 2010). Virtual museums offer-
ing the opportunity to interact increase the activities of users in the virtual museum.
Also, the perception of presence of visitors increases in parallel with the increase in
the activities in virtual environments (Suter, 2011).
“Guidance” is also among the factors that affect the perception of social pres-
ence in virtual museums. Although guidance is an important element to increase
the quality and effectiveness of museum visits, it is not very possible to find a good
guide service in museums (Çalışkan et al., 2016). This problem, that physical muse-
ums experience, has been tried to be solved in virtual museums and the guidance
system has been integrated in most of them. However, it is noteworthy that twenty-
six percent of the examined virtual museums still do not have guidance support.
Visitors may experience problems from time to time in the use of virtual museums
without guidance support (Aladağ et al., 2014). Based on the services offered by
13
virtual museums, the guidance was examined under three groups as "semi-flexible",
"flexible" and "non-flexible". Virtual museums point out the paths to their visitors
in semi-flexible guidance. In this way, they try to prevent the visitors from losing
their way in the virtual museum. However, all control is in virtual museums in non-
flexible guidance. They guide their visitors on the determined route. Flexible guid-
ance is similar to guide supported smart learning environments. Guide supported
smart learning environments support the individual independently of time and place
and guide them according to their individual needs (Bahçeci & Gürol, 2010). It also
helps them gain the knowledge and skills they need in a short time (Beck, 2005).
Only six percent of the virtual museums examined have flexible guidance offering
a guide supported smart learning environment. Visitors are guided and informed in
line with their interests and needs with flexible guidance.
Virtual museums offer an interactive learning environment to their visitors thanks
to the three-dimensional content they offer (Kim et al., 2006). Interactive learning
environments offered by virtual museums can be accessed and used more easily than
physical places (Altınbay & Gümüş, 2020). In addition, artworks that are difficult to
exhibit in physical museums are presented more easily in virtual museums (Ortaç,
2021). In this context, virtual reality technology is one of the components that sup-
port social presence in virtual museums. Virtual reality separates its users from the
real world and takes them into a virtual world prepared in computer environment
by using technological possibilities (Craig et al., 2009). It supports the perception
of reality of the virtual environment as much as possible by enabling feelings such
as sight, hearing and touch (Jenny, 2017). Twenty percent of the examined virtual
museums have three-dimensional Virtual Reality (VR) support. Such museums can
optionally be visited in three dimensions through VR glasses. The sense of real-
ity provided by three-dimensional tours supports the cognitive development of visi-
tors and enables them to benefit more from the virtual museum (Katz & Halpern,
2015). However, three-dimensional environments create a greater sense of presence
on users than two-dimensional environments (Kober et al., 2012). From this point of
view, virtual museums with VR support create a more sense of presence than virtual
museums that do not offer VR support.
As a result of the study, it has been concluded that virtual museums can be exam-
ined under three categories according to their designs as “type of artwork”, “type of
transfer to a virtual environment”, “type of information presentation” and under four
categories according to the perceptions of social presence as “scene transition type”,
“navigation type”, “guidance type” and “VR support”.
8 Suggestions
Virtual museums are design based virtual learning environments. The fundamental
notion of virtual museums is combining art and education Concerning the fact that
learners’ experiencing sense of presence in the virtual environment is one of the
major components of learning, the following recommendations are listed along with
the results of the present study.
13
Fig. 11 Classification of virtual museums in terms of design and perception of presence
In line with the results obtained, the suggestions of the study are listed below.
In line with the design features.
• Virtual museums can be examined under eight categories according to the types
of artworks they exhibit; as culture-art, composite, archeology, science/technol-
ogy, history, military, industry, and natural history.
• In terms of the type of transfer to the virtual environment, virtual museums can
be grouped as real, semi-real and fictional.
• All virtual museums offer their artworks to their visitors as two or three-dimen-
sional objects. Virtual museums can use pop-ups and links to enrich existing
information. For this reason, virtual museums can be categorized as 2D/3D
objects, pop-ups and links in terms of type of information presentation.
• Virtual museums with VR support create a more sense of presence than virtual
museums that do not offer VR support. For this reason it is recommended that
VR technology is considered and integrated into virtual museum designs.
In line with the perception of social presence;
• According to the type of scene transition, virtual museums can be grouped into
two categories: realistic and transition with effect (teleportation, fading, scatter-
ing).
• In terms of the type of circulation, virtual museums can be named under three
headings as free, optional and automatic.
• Virtual museums can be categorized as semi-flexible, flexible and non-flexible
according to the type of guidance they offer.
13
The suggestions made in line with the results obtained from the study process are
included in Fig. 11.
When Fig. 11 on the designs of virtual museums is examined, it can be classi-
fied under 4 sub-headings as “Type of Navigation”, “Type of Guidance”, “Type of
Transitions,” and “VR Support”. It can also be examined in 3 sub-headings, “Type
of Transfer to Virtual Environment”, “Type of Artwork” and “Type of Information
Presentation” in the dimension of Perception of Presence. Considering the structure
and learner characteristics of today’s virtual museums, it is thought that this classifi-
cation brings a new dimension to the field.
Data availability The datasets generated during and/or analyzed during the current study are available
in the [Google Drive] repository, [https://drive.google.com/drive/folders/1QXG-nEhFgmspD6o3_IWwfq
sQ8HS1DbN0?usp=sharing].
Declarations
Conflict of interest None.
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Education and Information Technologies (2023) 28:8945–8973

Analysis of virtual museums in terms of design

Zeynep Tatlı1 · Göksel Çelenk1 · Derya Altınışık1

sub-headings as “type of transition”, “type of navigation”, “guidance”, and “virtual

Keywords Museum · Virtual Museum · Social Presence · Design

2 Purpose of the research questions

1. The design features

2. The perception of social presence

In order to illustrate the research methodology, research procedures and mecha-

Fig. 1 The research methodology

3.3 Data collection tools

3.4 Data collection and analysis

5 Findings regarding the design features of virtual museums

5.1 Findings on the types of artworks exhibited in virtual museums

5.2 Findings on types of transfer to virtual environment of virtual museums

a -Culture-Art Museum b-History Museum c -Composite Museum d-Military Museum

e -Archeology Museum f -Science/Technology g-Industrial Museum h-Natural/Natural

Fig. 4 Sample images of the works exhibited in virtual museums

5.3 Findings on the types of information presentation of the artworks

6 Findings related to perception of social presence in virtual

a -Real Museum b-Semi-real Museum

Fig. 5 Sample images of real, semi-real and fictional virtual museums

6.1 Findings on the types of scene transitions offered in virtual museums

Virtual museums consist of a scene or scenes. There is no transition in museums

presenting the artworks

a-2D/3D Object b-Informative Pop-Up

Dissolve 6 In such virtual museums, the scene dissolves and a new

Automatic navigation start button Automatic navigation pause button

6.3 Findings on the type of guidance offered in the virtual museums examined

6.4 Findings on the use of VR in the examined virtual museums

7 Results and discussions

a-Semi-Flexible Guidance b-Flexible Guidance

Fig. 8 Images of the types of guidance in virtual museums

Fig. 9 Images of VR technology in virtual museums

Fig. 10 Images of VR technology in virtual museums

Fig. 11 Classification of virtual museums in terms of design and perception of presence

In line with the perception of social presence;

Workshop 3D-ARCH, Leibniz University, Germany. Retrieved from https://​www.​isprs.​org/​proce​

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2 Purpose of the research questions

3.3 Data collection tools

3.4 Data collection and analysis

5 Findings regarding the design features of virtual museums

5.1 Findings on the types of artworks exhibited in virtual museums

5.2 Findings on types of transfer to virtual environment of virtual museums

5.3 Findings on the types of information presentation of the artworks

6 Findings related to perception of social presence in virtual

6.1 Findings on the types of scene transitions offered in virtual museums

6.3 Findings on the type of guidance offered in the virtual museums examined

6.4 Findings on the use of VR in the examined virtual museums

7 Results and discussions

Workshop 3D-ARCH, Leibniz University, Germany. Retrieved from https://www.isprs.org/proce