Museums have undergone a profound transformation, evolving from conventional institutions primarily dedicated to the collection and interpretation of artefacts into dynamic cultural co-creation platforms that engage diverse audiences (Cairns, 2013). In this contemporary context, the ascendancy of the internet, digital technology, and artificial intelligence has positioned virtual exhibitions as central components of museum activities (Kim, 2018). Consequently, collections have transitioned from being imbued with a traditional ‘aura’ (Benjamin, 1999) to becoming conduits for cultural communication. Despite the transformative potential of Virtual Reality (VR) technology, which introduces immersive and interactive dimensions to the museum experience (Kim, 2022; Carrozzino, 2010), optimizing the user experience through effective narrative techniques remains a formidable challenge. While current research predominantly focuses on technological advancements and interaction design, the underexplored role of visual symbols (Deleuze, 2000) in VR virtual museum narratives, particularly their capacity to convey abstract meanings and establish a comprehensive narrative framework, warrants closer examination. This study endeavours to scrutinize the significance of visual symbols in content narratives within VR virtual museums. This analysis integrates macro-theoretical perspectives with practical applications, employing a combined approach of literature review and case study method. This study posits that these narratives’ influence hinges on the content, materiality, and position of these symbols. Subsequently, this paper delves into specific case studies to elucidate the practical implementation of this theoretical framework. Ultimately, this study culminates in the development of a guiding framework for the incorporation of visual symbols into virtual museum design, intended to enhance the effectiveness of content narratives within the virtual museum context.
Haitang Zhang is pursuing her PhD research at GSA, focusing on virtual museums, digital heritage, and VR. She holds a Master’s degree in Space Design from CAFA and boasts a rich background with five years in space design and three years in visual design. Her portfolio includes events such as Fantastic Art China in Happy Spring Festival in New York 2016 and the China Cultural Palace at EXPO 2020 Dubai. Haitang’s academic journey has been driven by a deep-seated fascination with the transformative relationship between vision and space, which she continues to explore in her PhD research.