Host: Elvira Crois, Vrije Universiteit Brussel, Belgium
Visitor: Bob Lundgreen, Nyskaben, Denmark
Cave Walk is a cross-sectoral collaboration between Elvira Crois, researcher in Arts Education from the Vrije Universiteit Brussels (Belgium) and Bob Lundgreen from the art collective Nyskaben (Denmark), supported by VR-programmer Hannibal Glaser and geologists Sophie Verheyden (Institute of Natural Sciences) and Serge Delaby (UNESCO Geopark Famenne-Ardennes). The project brings together artistic practice, immersive technology, and geological research to create a multi-user virtual reality experience that invites visitors to explore geological heritage in a scientifically informed yet visually imaginative way. Up to ten participants can simultaneously navigate a 3D scan of an underground cave and engage with a narrative about the formation, transformation, and cultural meanings of subterranean landscapes.
For this first prototype, the team acquired and processed a 3D scan of Stefánshellir, a lava cave in Iceland, which provided a realistic environment for layering visual storytelling elements. Visitors learn how lava caves form, discover the story of “ghost stalactites,” and encounter folklore associated with the hidden world beneath the earth’s surface. The completed prototype was presented at the I Love Science Festival in Brussels from 10 to 12 October 2025. Over the course of three days, the team onboarded more than 1,100 participants, approximately 80% of whom were children under the age of twelve. The experience will continue its journey in 2026 at Phenomenal Viborg in Denmark, extending its international reach.
Beyond the public presentation, the project generated a range of intangible outcomes. The team significantly expanded its technical expertise, including VR development for multi-user environments, headset management, glitch mitigation, and safe onboarding procedures. New geological knowledge emerged from close collaboration with external experts, deepening understanding of lava-cave formation, Icelandic geological damage and conservation challenges, and Nordic folklore. The project also strengthened research skills such as interviewing specialists, gathering reliable scientific information, and processing photogrammetry and LiDAR data.
The development process evolved considerably from the original plans. Although the team gained access to a 3D scan of the Hotton cave in Belgium, permission to use the scan was not granted by the private owners. This obstacle required the project to shift its focus to Iceland, where VR-programmer Hannibal Glaser is based, and where existing scientific contacts facilitated access to a suitable cave. What was initially designed as a five-day trip expanded into more than a month of intensive work, including scanning, artistic development, VR implementation, and consultations with geological experts. The festival presentation marked the culmination of this extended effort.
The cross-sectoral dimension of Cave Walk was strengthened throughout the process. The collaboration brought together artistic, educational, technological, and geological expertise, building upon an earlier joint initiative on a cave-themed comic and opening new perspectives for continued cooperation. Encounters during the I Love Science Festival further expanded this network and planted the seeds for future interdisciplinary projects.
Several lessons emerged from the experience. The team now considers the current version of Cave Walk a functional prototype, and future iterations will place stronger emphasis on developing interactive elements, such as triggering the appearance of ghost stalactites through user actions, while facilitating more in-person collaboration between the visual artist and the VR-programmer to streamline the creative and technical workflow. The experience at the I Love Science Festival also provided valuable insight into the logistical and communicative demands of large public events.
The project faced two notable challenges. The first was the inability to obtain permission to use the Hotton cave scan, which obliged the team to change location and rethink the workflow. The second involved the geographic separation between the artist and the VR-programmer during key phases of development, which slowed progress but was ultimately overcome through remote coordination and intensive in-person work sessions. Despite these challenges, the team succeeded in delivering a coherent, engaging, and technically robust VR experience that resonated strongly with the public and demonstrated the value of cross-sectoral collaboration.
Image from the Han cave © Oscar Louw
