Creating Digital Twins to Celebrate Commemorative Events in the Metaverse

Abstract

This paper explores the potential and implications arising from the convergence of virtual reality, the metaverse, and digital twins in translating a real-world commemorative event into a virtual environment. It emphasizes how such integration influences digital transformation processes, particularly in reshaping models of social interaction. Virtual reality is conceptualized as an immersive technology, enabling advanced multisensory experiences within persistent virtual spaces, such as the metaverse. Furthermore, this study delves into the concept of digital twins—high-fidelity virtual representations of physical systems, processes, and objects—highlighting their application in simulation, analysis, forecasting, prevention, and operational enhancement. In the context of virtual events, the convergence of these technologies is examined as a means to create interactive, adaptable, and scalable environments capable of accommodating diverse social groups and facilitating global accessibility. As a practical application, a digital twin of the Ferrándiz and Carbonell buildings—the most iconic architectural ensemble on the Alcoi campus—was developed to host a virtual event commemorating the 50th anniversary of the integration of the Alcoi School of Industrial Technical Engineering into the Universitat Politècnica de València in 1972. The virtual environment was subsequently evaluated by a sample of users, including students and faculty, to assess usability and functionality, and to identify areas for improvement. The digital twin achieved a score of 88.39 out of 100 on the System Usability Scale (SUS). The findings underscore the key opportunities and challenges associated with the adoption of these emerging technologies, particularly regarding their adaptability in reconfiguring digital environments for work, social interaction, and education. Using this case study as a foundation, this paper offers insights into the strategic role of the metaverse in extending environmental perception and its transformative potential for the future digital ecosystem through the implementation of digital twins.

1. Introduction

Technological evolution has given rise to an innovative digital ecosystem, where concepts such as virtual reality (VR), the metaverse (MV), digital twins (DTs), and the creation of virtual events are profoundly transforming various industrial and social sectors. This study examines the convergence of these technologies, emphasizing their practical applications, advantages, and associated challenges. Virtual reality (VR) facilitates immersive environments that enhance educational experiences, entertainment, and remote collaborative activities. The metaverse (MV), in turn, is conceptualized as a persistent, shared digital ecosystem that expands human interactions within dynamic three-dimensional spaces. Digital twins (DTs), as precise virtual counterparts of physical entities or systems, contribute to process optimization and support real-time, data-driven decision making. Finally, the creation of virtual events opens new possibilities in the world of marketing, education, and remote work, offering attractive and globally accessible experiences.

The adoption and development of these technologies have become of unprecedented relevance in contemporary society, redefining the way people interact, learn, and work with the environment. In this context, the Theory of Presence is fundamental to understanding how individuals perceive being “inside” the virtual environment. This sense of presence is key to the design of immersive experiences, especially in commemorative events that require the generation of authentic and meaningful emotions. In addition, immersion and realism models provide conceptual frameworks to understand how visual, auditory, and kinesthetic stimuli contribute to generating immersive experiences. Variables such as graphical fidelity, real-time interaction, and narrative coherence of the environment directly impact the effectiveness of these events. Likewise, human–computer interactions (HCIs) allow for the analysis of how users interact with the interfaces of the virtual environment. In commemorative scenarios, where emotional and symbolic interaction carries considerable weight, the user experience (UX) must be intuitive, fluid, and emotionally resonant. Finally, spatial cognition and perception in virtual environments contribute to the effective design of commemorative settings, allowing users to navigate naturally and understand the digital space as if it were physical. At the same time, as these tools evolve, their implications for the economy, culture, and communication are more significant. To better understand the impact of these technologies, it is necessary to analyze their historical background and their development over time. In the case of VR, it has evolved since the 1960s toward modern applications in video games, training simulations, and contemporary collaborative environments. Similarly, the concept of the MV, influenced by science fiction literature and the evolution of digital platforms, has managed to create an immersive ecosystem with virtual economies and advanced interaction models. In areas such as tourism [1], hospitality [2], fashion [3], or virtual museums [4], it has been implemented and is contributing to an increase in revenue for businesses.

On the other hand, virtual events became especially relevant after the COVID-19 pandemic, when companies, educational institutions, and conference organizers adopted digital solutions at a time when connectivity had to be maintained on a global scale. Technologies such as live streaming, interactive 3D spaces, and the integration of artificial intelligence (AI) have improved the user experience in virtual environments, enabling open participation without geographical barriers. In the case of DTs, their application in Industry 4.0 is to improve manufacturing efficiency, predictive maintenance, and the optimization of complex systems, through the use of virtual models that faithfully replicate their physical counterparts [5,6,7,8]. These digital representations are expected to be very effective in sectors such as health, engineering, and urban infrastructure management, where simulations and predictive analytics can reduce costs and improve decision-making [9,10,11,12].

In the field of education, DTs are used to create environments for experimentation in the fields of science, engineering, and medicine, avoiding risks [13,14]. Thus, they cam ac as virtual models that can predict student performance and simultaneously adapt academic content [15,16]; as replicas of machines and industrial processes, enabling realistic experimentation within practical experimentation laboratories [17,18]; and they can operate as recreations of historical environments in 3D, for interactive exploration [19,20]. Finally, DTs play a key role in optimizing performance and operational efficiency in various industries. They are being applied in various areas, highlighting their use in the health sector [21] to optimize hospital processes, forecast the demand for services, and manage resources. In this, they facilitate the planning and design of hospital infrastructures, improving the construction and renovation of facilities. In addition, they allow for the monitoring of the patient’s status and the personalization of treatments. Its implementation in medical training through interactive simulations reduces errors in surgeries and emergencies. Institutions such as Mayo Clinic, Cleveland Clinic, Johns Hopkins Medicine, and Partners HealthCare have integrated this technology into the optimization of their services. For example, Philips Healthcare’s digital twin functions as an accurate virtual replica of an organ or biological system, created from data obtained from advanced medical imaging (MRI, CT, ultrasound), genetic testing, biometric sensors, and medical records. Its application allows health professionals to simulate and predict, enabling them to dictate more precise treatments and more quickly. In addition, it streamlines the predictive analysis of the patient’s response to different procedures and therapies, improving medical planning and reducing clinical risks. The case of Dassault Systèmes’ Living Heart Project is an advanced application in cardiology with which highly detailed virtual models of the human heart are created to simulate and optimize treatments, evaluate the efficiency of medical devices, and plan surgeries without direct intervention in patients. Its implementation aims to improve our understanding and approach to heart disease, providing precision tools for medical practice and innovation in cardiovascular health.

DTs are becoming fundamental in the transportation industry [22,23]. In the railway sector, Deutsche Bahn has implemented this technology to optimize the operation, maintenance and management of its rail network, improving operational efficiency, safety, infrastructure planning, and transportation sustainability. In aviation, Boeing uses them to simulate aircraft behavior, optimize design, improve safety and operational efficiency, and reduce costs [24]. Its application in the 787 Dreamliner series is notable, where this technology has revolutionized the design, maintenance, and operation of aircraft. All of this promotes more efficient and sustainable aviation, and its impact is expected to grow in the aerospace industry. In the aerospace sector, Rolls-Royce has implemented this technology for real-time monitoring of engine performance, such as the Trent XWB used in Airbus A350 aircraft, optimizing its life cycle and predictive maintenance [25]. In the automotive industry, BMW has integrated DTs in its Regensburg plant, allowing assembly simulation to reduce production times [26]. Mercedes-Benz applies this technology in its Sindelfingen factory through Internet of Things (IoT), AI, and big data, improving efficiency and sustainability, especially in the production of electric vehicles such as the EQS. Ford optimizes the manufacture of batteries and electrical systems for models such as the Mustang Mach–E and the F-150 Lightning, ensuring quality and efficiency [27].

For its part, the Tesla brand has developed a digital twin that virtually replicates each vehicle in real time, allowing performance monitoring, predictive maintenance, and remote software updates. Turning this technology into a key part of the evolution of its autonomous driving system allows us to optimize the performance of autopilots through advanced simulations [28,29,30]. Siemens has implemented a digital twin in its Amberg factory in Germany, optimizing the production of industrial control systems through advanced automation, which improves efficiency and reduces costs. General Electric applies this technology in multiple sectors, from manufacturing to energy and healthcare. In renewable energy, DTs enable optimal monitoring of wind turbine performance, analyzing data in real time to predict failures and improve operational efficiency. Unilever has integrated a digital twin into its production and supply chain, highlighting its application at the Hamburg plant. This implementation has improved operational efficiency, reduced costs, and promoted sustainability through energy optimization and waste reduction [31,32].

In the field of urban planning, DTs are applied in the simulation of urban infrastructures to monitor and improve mobility, traffic, and energy efficiency, contributing to the development of sustainable cities [33]. Singapore’s city has developed a digital twin as part of its Smart Nation (SN) strategy, using advanced technologies to improve these areas and thus improve the quality of life [34]. In Dubai, through its Smart Dubai initiative, a digital twin based on IoT, big data, and AI has been implemented, allowing the simulation and optimization of infrastructures, achieving the same advantages offered by the previous SN strategy. Shenzhen has developed a detailed virtual replica of the city, integrating real-time data through IoT sensors and monitoring systems to improve traffic, energy, public services, and security management, establishing itself as a benchmark in smart cities [35].

The MV has transformed the organization of events, highlighting its impact on museums and art galleries. Sotheby’s Virtual Gallery is a digital platform that employs advanced technology for the exhibition and commercialization of art, antiques and collectibles in an immersive virtual environment. This gallery uses high-resolution 3D renderings to represent works with great precision, allowing users to explore pieces in three-dimensional mode and, in some cases, through VR. Its catalog includes modern and contemporary art, works by masters of antiquity, nonfungible tokens (NFTs), jewelry, and other historical objects, accessible globally through the internet. Users can interact with the works, obtain detailed information, and participate in acquisitions directly or in online auctions. Sotheby’s also organizes temporary exhibitions and exclusive events, consolidating its role in the digitalization of the art market and democratizing access through technology. One of the most prestigious contemporary art fairs in America is Art Basel Miami Beach, which has recently incorporated virtual editions to respond to recent global challenges. Already in 2020, it launched Online Viewing Rooms, allowing the digital exhibition of works, with the participation of 282 galleries from 35 countries and more than 230,000 visitors. Subsequently, in December, it presented OVR: Miami Beach, with 255 galleries from 30 countries and nearly 2500 works of art, integrating new features such as interactive videos and digital exploration tools. These initiatives consolidated a hybrid model of art dissemination and commerce, complementing in-person fairs with digital platforms [36,37].

In the musical realm, MV has revolutionized the concert experience through interactive events in video games [38,39]. The Fortnite Concert Series has redefined the connection between artists and audiences through immersive shows and dynamic virtual environments. The first major event, with Marshmello in 2019, gathered more than 10 million players, followed in the ranking by Travis Scott (2020) with 27 million attendees and Ariana Grande (2021) with interactive stages. Other artists like J Balvin, Eminem, and The Kid Laroi have participated, thus consolidating this format. Likewise, Roblox Virtual Concerts have expanded the music industry in digital environments, offering interactive experiences with missions and collectible items within the game. Who started this trend in 2020 was Lil Nas X with 33 million views, followed by Twenty One Pilots, Zara Larsson, and KSI in 2021. A few years later, David Guetta, The Chainsmokers, and Charli XCX solidified their concerts as a new form of artistic expression and massive interaction in virtual spaces [40,41].

Sandbox Game Jams are video game development events in which programmers, designers, and creatives collaborate to design games within a limited time frame (48–72 h) on open development platforms like Roblox, Minecraft, The Sandbox, and Garry’s Mod. Their goal is to encourage experimentation and innovation in game design, allowing participants to explore new mechanics and more creative and unrestricted concepts. These events usually include specific topics and promote interdisciplinary teamwork. A recent example is the Discovery Game Jam, announced by The Sandbox on 14 March 2025, in their GMAE Show program, with the aim of continuing to drive creativity in the MV ecosystem [42]. The Metaverse Summit is an international conference that brings together experts, companies, and developers to analyze the future of MV. It addresses key topics such as VR, augmented reality (AR), blockchain, NFT, and AI, exploring technological trends and opportunities. It has been held in cities like Paris and New York, attracting thousands of participants and establishing itself as an essential event for the digital industry [43,44]. In the realm of digital assets, NFT.NYC is an important annual conference in the NFT sector, bringing together artists, collectors, and industry leaders to discuss advancements in digital art, blockchain, and commercial applications. The 2025 edition of NFT.NYC will be held from 25 to 27 June at Times Square, New York, addressing topics such as art, AI, video games, legal aspects, and the digital community. Some previous editions have featured the participation of influential figures from companies such as T-Mobile, Mastercard, and Lacoste, demonstrating the growing impact of NFTs in various industries [45].

One of the most dynamic virtual social interaction platforms that organizes festivals and events to enhance user experience is Zepeto World Festival. Among the highlights are the Zepetomoji Festival, held at Zepeto University, and the Zepeto School Festival 2024, which included contests, challenges, giveaways of avatar items, and live broadcasts with influencers. These festivals reflect Zepeto’s commitment to creating immersive experiences for its global community [46]. New Horizons, released in 2020 by Animal Crossing, is beginning to be considered an MV due to its shared virtual world and social interaction capabilities. This is because during the pandemic, it allowed players to create customized islands, promoting social connection. It is not a complete MV, although it shares certain characteristics, due to the lack of integration with multiple platforms and digital experiences [47,48]. In Highrise: Virtual Metaverse, events are fundamental to the user experience, where they can participate in activities such as fashion contests, debates, karaoke nights, and competitions in labyrinthine spaces. These events, organized by both developers and users themselves, stimulate rich and creative social interaction within the platform [49,50]. Meta has promoted virtual events through Horizon World Events, a VR platform where users explore, interact, and create in a shared environment. Among the highlighted events are educational marathons, immersive concerts (such as those by Sabrina Carpenter and The Kid Laroi), and themed experiences like “3D Ocean of Light - Dolphins in VR” and “Space Explorers”. Additionally, Horizon Worlds has integrated “Venues”, a space dedicated to broadcasting live events such as concerts and sports, expanding entertainment options [51,52].

BKOOL, a virtual cycling simulator, offers immersive training experiences and has hosted notable events such as the competition between professional cyclists Chris Froome and Alberto Contador during the Virtual Giro d’Italia 2024 [53,54]. The Brooklyn Nets’ Netaverse, launched in 2022, uses digital twin and VR technologies for immersive experiences during NBA games, allowing fans to experience the games from new perspectives and access real-time statistics [55,56]. Formula 1 in MV has developed with various events, integrating NFTs, immersive experiences, virtual simulations, and video games. Among the most relevant events are F1 Delta Time (2019–2022), the F1 Virtual Grand Prix (2020), the collaboration with Roblox in the F1® Arcade and Virtual Paddock, and the Monaco Grand Prix in the MV (2023). These events reflect F1’s incorporation into the digital world and its commitment to innovation in the virtual realm. The AIXR XR Awards, formerly known as the VR Awards, celebrate the most significant achievements in the field of extended reality (XR), which encompasses VR, augmented reality (AR) and mixed reality (MR). These annual awards recognize technological innovations, immersive experiences, and applications that transform human interactions with technology.

On the other hand, Microsoft has developed Microsoft Mesh, a MR collaboration platform that allows us to interact in digital environments through avatars or holograms. It works on devices such as HoloLens 2 and smartphones, facilitating immersive meetings, collaborative design, technical training, and virtual events creation. Based on Microsoft Azure, Mesh uses AI and spatial computing to create realistic and secure experiences, positioning itself as a key tool for collaboration in MV and its future integration with services like Microsoft Teams [57]. These platforms reflect the growing diversification of immersive experiences in the MV, offering user interaction, entertainment, and learning in advanced virtual environments [58,59]. Throughout this article, case studies will be analyzed that illustrate the use of these technologies and how leading companies and government agencies have adopted these strategies to maximize their potential. From a socio-economic perspective, these technologies present a series of challenges and opportunities. Although MV and virtual events democratize access to digital experiences, they also raise questions about security, data privacy, and their impact on employment. The creation of digital economies within the MV could redefine business models and innovate new forms of monetization, although it also carries risks associated with regulation and economic sustainability.

This study focuses on Alcoi, an industrial city with a textile tradition that began in the 19th century, driven by hydraulic energy. The modernization of the city was accelerated with the arrival of steam, creating a strong economic and social fabric. In 1828, the first industrial studies derived from the Royal Cloth Factory were founded, and in the mid-19th century, the Elementary Industrial School was established, funded by public and private funds. In 1869, the first title of chemical expert was awarded, and that of mechanical expert in 1873. At the beginning of the 20th century, the Higher School of Industry was founded, offering specializations in various industrial branches. In 1972, this school became part of the Universitat Politècnica de València (UPV) campus, expanding its educational offerings, which currently include seven degrees: Industrial Design, Computer Science, Business Administration, Electricity, Chemistry, Mechanics, and Robotics.

To commemorate the 50th anniversary of the integration of the University School of Industrial Technical Engineering into the UPV, a comprehensive design effort has been carried out. For this experiment, first, a DT was designed of the Alcoi campus of the UPV. Next, and based on several photographs, the Ferrándiz and Carbonell buildings that make up the central part of the campus were modeled in 3D using 3ds Max 2025. The brand image was then created by designing the logo. A series of canvases with a commemorative image have been modeled in 3D, which are displayed on the facades of the Ferrándiz and Carbonell buildings, like a stage, as they are still installed in the urban space. With the Unity game engine, user interactions with the scene have been configured, such as the activation of animations, videos, etc., and they have been implemented in the template of the same program on the Spatial.io web portal, enabling the development of a digital twin in the MV. Spatial is a free application that provides a socialization interface, where we can customize our avatar and chat or voice with other users. In conclusion, the convergence of VR, MV, DT, and the creation of virtual events is causing a paradigm shift, especially in the way we interact with the digital world. Its impact will continue to expand in the coming years, revealing new opportunities for innovation and global connectivity. This article is structured as follows. First, the proposed digital twin is developed in Section 2. Next, Section 3 provides information on the usability of the interface and aspects of Unity and Spatial. Finally, we conclude this study with a discussion and comments, which are presented in Section 4 and Section 5, respectively.

2. Materials and Methods

2.1. Design Approach

The methodology for creating the digital twin (DT) used for the virtual event is shown in Figure 1. It began by interpreting the CAD floor plans and photographing the facades and decorative elements, as the elevation plans for the Ferrándiz and Carbonell buildings were unavailable. Around 300 photos were taken to capture architectural details, vegetation, and textures. A brand image for the 50th anniversary of the merger between the University School of Industrial Technical Engineering and the UPV was then developed, including a logo, posters, and a commemorative video featuring 3D morphing animation. As detailed in Section 2.1, once the brand identity was established, 3D modeling of the buildings was carried out in 3ds Max 2025, with heights being extruded from CAD drawings and facade details being refined using Photoshop. Additional campus elements were modeled based on field photos, and all textures were generated from the collected images.

To implement the digital twin (DT) of the virtual event, the free Spatial.io platform was used. This platform allows for the creation and exploration of 3D virtual spaces with support for VR and AR. The 3D model was exported to Unity, where models and textures were optimized, and animations and interactions were defined. The scenario was then exported to Spatial.io, where videos and external links were integrated.

The first version of a DT was evaluated by the Department of Graphic Expression. After improvements, it was tested by 265 students. The final version was presented at the 50th anniversary gala of the incorporation of the University School of Industrial Technical Engineering into the UPV, held on 7 April 2022. The attendees interacted with the DT using Meta Quest 3 headsets. A documentary and a 3D animation of the morphing between the original UPV logo and the one created for the anniversary were also shown.

The project commemorated two historic events of the Alcoi campus: the 50th anniversary of its integration into the UPV (1972) and the 100th anniversary of the laying of the first stone of the Viaduct Building. Silvia Sempere Ripoll was responsible for the artistic direction, creating the commemorative logo based on the original UPV emblem by reinterpreting elements such as the crown and the four bars.

Urban installations were also carried out, including large printed canvases mounted on the facades of the Ferrándiz, Carbonell, and Viaduct buildings, using the official UPV corporate colors: blue, red, yellow, and black. See Figure 2.

DT modeling began by obtaining only floor plans from campus maintenance, so CAD layouts were imported into 3ds Max and aligned to facade photomontages to recover real building elevations. Nearly 300 photographs supplied detailed references for windows, reliefs and decorative elements, enabling facade volumes to be built via extrusion, sweeps and Booleans. Site furnishings—benches, bins, planters and sculptures—were also modeled from field measurements, and additional features (flagpoles, tarpaulin frames, lecterns, pigeons and a branded zeppelin) were added for realism.

Texturing involved cropping photographs in Photoshop 25 to create diffuse, opacity and normal maps (using Alpha channels for transparency), assigning them via Standard and Multi/SubObject materials. Imported tree models (elms and olives) brought built-in opacity maps for foliage. The entrance planes that feature photos of adjacent campus buildings defined the walkable area, and the commemorative banners modeled in 3ds Max were left to be textured and animated later in Unity.

Unity 2021.3.21f1 was chosen for real-time rendering and its native integration with Spatial.io. After importing Spatial’s UI Menu package as a structural template, the scene was built in Unity and exported to Spatial.io. There, multimedia assets and interactivity were defined using, most notably, a “Quest” mission system that guides users through the space (for example, passing through a trigger cylinder to reveal animated anniversary banners). See Figure 3.

Mission 2 requires the user to locate the three entrances to the Alcoi campus buildings (one in Ferrándiz and two in Carbonell). A Trigger Event is used to detect collisions and update the mission log. Mission 3 involves stepping onto the stage to complete the final task. A Trigger Event on the stage checks completion and displays a celebration message.

To improve performance, all stage textures were resized to 1024 × 1024 pixels (to the power of two) using texture baking in Unity. Both modeling and texturing followed the standards of video game optimization to ensure smooth gameplay. In addition, seating interactivity was added using the Seat HotSpot component on benches and planters, allowing users to sit during virtual talks or training sessions. See Figure 4.

In the final stage of the project, the Unity scene is exported to Spatial.io using the Creator Kit, where the name and thumbnail of the scene are configured. After registering with a Spatial account and clicking “Publish,” the scene is usually live in 20–30 min.

Spatial.io is a powerful AR/VR platform that enables immersive 3D virtual environments for collaboration, exhibitions, and events. It allows for the integration of 3D assets, supports real-time multi-user interactions, and includes tools for customizing layouts, inserting multimedia (like documents, videos, and presentations), and hosting events. Unlike platforms like Roblox or Meta Horizon, Spatial.io is more suited for professional, high-quality virtual spaces, offering better visual realism and easier setup without requiring coding knowledge.

Although inserting videos and multimedia cannot be completed directly in Unity, Spatial lets users place “empty frames” in Unity that are filled later in the pipeline, allowing for updates to be installed without republishing. Spatial also includes user-friendly social features (chat, emojis, animations) and broad sharing capabilities, making it a more accessible, cost-effective platform for organizations aiming to build metaverse spaces without high technical or financial barriers.

2.2. Research Design

To validate the digital twin prototypes developed in this study, testing was carried out using Meta Quest 3 headsets (Meta Reality Labs, Burlingame, CA, USA), a personal computer, and an iPhone X (Apple Inc., Cupertino, CA, USA). Before each session involving the VR headset, a technician provided a brief tutorial outlining the evaluation objectives. Participants were instructed on how to properly wear the headset, operate the controllers and their respective buttons, and navigate both the virtual environment and its interface menus. Specific tasks were assigned to evaluate the user experience, including interactions with socialization tools, avatar customization, and multimedia capture functions for images and videos. Participants were informed of the potential for motion-induced discomfort and advised to move slowly and smoothly to minimize the risk of dizziness. Throughout the testing phase, the technician accompanied each participant virtually via an avatar, ensuring that users remained oriented within the space and were able to effectively utilize the Spatial platform’s functionalities. Once participants demonstrated confidence in navigating the environment, they were allowed to explore the virtual space independently and without time restrictions. In this way, three phases were carried out in the test: a first phase with directed tasks where specific actions were assigned to evaluate key functionalities; a second phase where the user was allowed to navigate freely through the environment without restrictions; and a third with real-time feedback, where reactions were observed and verbal comments were recorded. The test was concluded the moment the user requested to leave the scenario. The same process was carried out for the application tests for the laptop and the iPhone. They were introduced into the same scenario, so they would co-exist with the person who was simultaneously taking the test with Meta Quest 3. The tests were carried out individually on each of the platforms. For glasses and mobile phone tests, the campus WiFi network was used, at a speed of 500 Mb/s, and for PC, a LAN network with 1 GB/s was used. In the first phase (test version), the digital twin was evaluated by 10 colleagues from the Department of Graphic Expression. With the feedback from our colleagues, a second version (Student Version) was created, which was evaluated by 265 students from the Industrial Design Degree.

2.3. Data Analysis

To validate the methodology used in the experimental trials, interviews with student participants were conducted, and a series of evaluations was carried out to assess user satisfaction with the immersive experience across three platforms: virtual reality using VR headsets (case 1), desktop computer (case 2), and iPhone X (case 3). Each participant completed two standardized assessment instruments: the Igroup Presence Questionnaire (IPQ) and the System Usability Scale (SUS). The IPQ is a validated instrument designed to measure the subjective experience of presence within virtual environments, where “presence” refers to the psychological sensation of actually being situated in the virtual space, rather than merely interacting with a digital simulation. Widely used in studies of virtual reality and interactive media, the IPQ provides a comprehensive framework for evaluating immersive experiences. See

Table A1. Description of the 14 IPQ issues.

Number	Question
IPQ1	In the computer generated world I had a sense of “being there”.
IPQ2	Somehow I felt that the virtual world surrounded me.
IPQ3	I felt like I was just perceiving pictures.
IPQ4	I did not feel present in the virtual space.
IPQ5	I had a sense of acting in the virtual space, rather than operating something from outside.
IPQ6	I felt present in the virtual space.
IPQ7	How aware were you of the real world surrounding while navigating in the virtual world? (i.e., sounds, room temperature, other people, etc.)?
IPQ8	I was not aware of my real environment.
IPQ9	I still paid attention to the real environment.
IPQ10	I was completely captivated by the virtual world.
IPQ11	How real did the virtual environment seem to you?
IPQ12	How much did your experience in the virtual environment seem consistent with your real world experience?
IPQ13	How real did the virtual world seem to you?
IPQ14	The virtual world seemed more realistic than the real world.

.

The questionnaire consists of 14 items distributed across four key dimensions:

General Presence—A global measure of the user’s sense of presence that complements the other specific dimensions (Item P1).

Spatial Presence—Assesses the degree to which users feel physically located within the virtual environment (Items P2–P6).

Involvement/Immersive Presence—Evaluates the level of user engagement, concentration, and emotional immersion in the virtual experience (Items P7–P10).

Experienced Realism—Measures the perceived realism and believability of the virtual environment compared to the real world (Items P11–P14).

The SUS, a widely recognized tool for usability assessment, was used in conjunction with the IPQ to quantify the overall user experience. The formula for calculating the SUS score is as follows:

SUS = ((Q1 − 1) + (5 − Q2) + (Q3 − 1) + (5 − Q4) + (Q5 − 1) + (5 − Q6) + (Q7 − 1) + (5 − Q8) + (Q9 − 1) + (5 − Q10)) × 2.5

The IPQ serves as a tool to assess the effectiveness of virtual environments in generating immersive experiences. It is commonly used to compare various VR and AR technologies in terms of their ability to generate a strong sense of presence and to inform the design and optimization of immersive applications in fields such as gaming, training simulations, exposure therapy and education. The 14 items that make up the IPQ are listed in Table A1, and responses are collected using a 7-point Likert scale. In the present study, the results of each test are analyzed by calculating the standard deviation of the mean scores for each dimension of the questionnaire. The System Usability Scale (SUS), in turn, is a ten-item questionnaire developed by John Brooke in 1986 to assess the usability of technological systems, including websites, applications, and devices. Due to its simplicity, speed of administration, and reliability, the SUS has become a widely adopted instrument to obtain a global usability score. The ten items are presented in

Table A2. Description of the SUS test questions.

Number	Question
SUS1	I think that I would like to use this system frequently.
SUS2	I found the system unnecessarily complex.
SUS3	I thought the system was easy to use.
SUS4	I think that I would need the support of a technical person to be able to use this system.
SUS5	I found the various functions in this system were well integrated.
SUS6	I thought there was too much inconsistency in this system.
SUS7	I would imagine that most people would learn to use this system very quickly.
SUS8	I found the system very cumbersome to use.
SUS9	I felt very confident using the system.
SUS10	I needed to learn a lot of things before I could get going with this system.

, and participants are required to complete the questionnaire after their interaction with the system. The items alternate between positively and negatively worded statements to mitigate response bias and cover aspects related to ease of use and learnability. Each item is rated on a 5-point Likert scale ranging from 1 (strongly disagree) to 5 (strongly agree). The final SUS score ranges from 0 to 100, serving as a relative indicator of usability rather than a percentage. This scoring system enables cross-system comparisons and helps determine whether a system is perceived as user-friendly. For this study, the evaluation of responses includes the calculation of both the mean and standard deviation for each test condition.

3. Results

In this section, we describe the application of the event for the MV generated with the digital twin. In Figure 5, a pair of users can be seen taking the test. The two users previously completed the technician’s tutorial to familiarize themselves with the application. Upon entering the immersive space, users could freely navigate the digital twin, interact with other users, and complete missions. They were connected to the same Spatial.io account so that they could interact with each other simultaneously from different devices. Figure 6 and Figure 7 show details of the virtual stage of the digital twin, where the facades of the Ferrándiz and Carbonell buildings can be seen, as well as all elements of the square, urban furniture, statue, etc. You can see the elements that identify the event, the canvases on the facades and the zeppelin with the logo of the 50th anniversary. You can also see how the avatar can sit on benches or planters and how it approaches completing missions to uncover the final celebration. It is important to highlight the photorealistic finish of the application, as well as its fluidity of movement. No stops or bumps were detected during the tests. Frames per second never dropped below 25. Realism and the feeling of immersion were the factors most commentors liked.

Various behavioral patterns were observed among the participants. The user utilizing VR glasses reported a heightened sense of immersion, accompanied by occasional sensations of dizziness. This individual dedicated more time to examining the intricacies of the 3D modeling and texture details. In contrast, participants engaging via PC and iPhone primarily explored interactive features, such as running and jumping functionalities, as well as the social components of the Spatial platform, including chatting, dancing, and emoticon exchange. The VR user exhibited a greater focus on spatial navigation and environmental exploration. The smooth interaction between both users, with mutual engagement through emoticons and text-based communication, facilitated a shared dialogue about the visual design of the stand and contributed to an enriched virtual experience. Some usability challenges were observed for VR participants, particularly in navigating certain menus and interface icons, along with the aforementioned episodes of dizziness during abrupt movements.

The analysis included a total sample of 265 participants. Regarding demographic distribution, 134 individuals self-identified as male, while 131 self-identified as female. In terms of age, the student cohort fell within the age range of 20 to 24 years. A total of 56.98% reported using emerging technologies on a daily basis, primarily for leisure activities such as video gaming or movie consumption. Furthermore, 18.86% indicated occasional use. When asked about their previous experiences with the metaverse (MV), 37.73% confirmed that he had participated in it previously. The following figures present the data derived from the IPQ (Igroup Presence Questionnaire). Figure 8 shows the mean and standard deviation corresponding to each item of the IPQ. The subscales of the questionnaire are expressed as percentages relative to the overall mean and standard deviation obtained from the responses. Refer to Figure 9 and Figure 10 for additional details.

The results indicate that 92.86% of participants reported experiencing a strong sense of General Presence, with a standard deviation of 0.76% (based on the average response to question 1). This suggests a high level of immersion within the virtual environment (VE). For the Spatial Presence subscale (questions 2–6), the mean score was 83.16%, with a deviation of 0.88%, indicating that users felt physically situated within the digital twin of the exhibition stand. Furthermore, 82.91% of the respondents, with a deviation of 0.92%, reported a high level of active participation in VE. Concerning Experienced Realism (questions 11–14), 87.76% of the participants, with a deviation of 1.04%, affirmed that the VE provided a convincing and immersive experience. These findings support the main objective of this study: the creation of a digital twin of the Alcoi campus, allowing students, faculty, and visitors to participate in workshops, conferences, and knowledge sharing events within a virtual setting. Regarding the results of the System Usability Scale (SUS), the application achieved a mean usability score of 88.39 out of 100, corresponding to an “A” grade (within the SUS classification range of 74–100), with a standard deviation of 8.7. This indicates a very high level of perceived usability for the developed application. Some outliers were found in questions Q2, Q4, and Q8, which were discarded. In Figure 8, the results of each question on the SUS questionnaire, defined in Table A2, are visually represented. It should be noted that most of the users expressed their willingness to use this application frequently, highlighting its ease of use. The tested students indicated that the setting and missions of the virtual event were well integrated, ensuring a smooth and coherent experience. Furthermore, respondents indicated confidence in their interactions with the application.

4. Discussion

The public presentation of the alpha version of the developed digital twin took place on 7 April 2022, at the 50th anniversary gala of the union between the University School of Industrial Technical Engineering and the UPV. A small stand was prepared with a PC and Meta Quest 3 glasses, both connected to the Alcoi campus WiFi network. The two devices were connected to the same Spatial account, and the PC’s video output was connected to a 50-inch television screen so that the audience present at the gala could see the same virtual space as the people testing the application. See Figure 11.

An advanced technician informed each participant about the operation of the glasses and their controls. They entered with the users, using a mobile device (iPhone X), and acted as a guide to explain the functioning of the DT application. Once the technician determined that the user was navigating the interface with ease, they were given complete freedom to test each of the functions. The Alcoi campus DT application was presented as a base platform for the dissemination of knowledge by each of the departments through the virtual space. The creation of conferences, workshops, and virtual events facilitates access to this knowledge for any user who connects online to the Spatial.io application. After the experience, a technical questionnaire was provided to the attendees who tested the DT, with five qualitative questions and two quantitative questions. See

Table 1. Questionnaire presented to the attendees of the 50th anniversary gala.

Number	Type	Description of the Question
1	Qualitative	How has your navigation and interaction experience been?
2	Qualitative	Did you find easy to complete the missions?
3	Qualitative	Has the help from the guide and the ability to connect with other users been useful to you?
4	Qualitative	Were you able to complete the missions without external help?
5	Qualitative	What did you think of the application of the Digital Twin?
6	Quantitative	Did you find the experience useful?
7	Quantitative	Would you recommend the experience?

. A total of forty users (aged between 16 and 71 years) completed the experience and this survey, which aimed to measure their level of satisfaction during the experience and their assessment of the quality of the DT.

Participants rated their experience on a Likert scale ranging from 1 (“Very Unsatisfactory”) to 5 (“Very Satisfactory”). The recorded mean score was 4.5, with a standard deviation of 0.35, reflecting a generally high level of user satisfaction with the experience. Only six participants assigned a score of 1 to any one item, primarily due to difficulties encountered while navigating with VR glasses. In general, 85% of the users reported satisfaction with the usability and navigation of the digital twin and its associated tasks, and only two participants experienced challenges in completing the missions. The corresponding data are illustrated in the figures below.

The obtained data indicate acceptable values in significance, so we consider them good. See Figure 12. A value of 2.6 for F from ANOVA also indicates an acceptable value. See Figure 13. In the graph of averages obtained by age, it is clearly seen how the average score of users decreased as their age increased. See Figure 14. We interpret this result as young people becoming more familiar with these new technologies and, evidently, older people having more difficulty navigating these new technologies. These findings provide valuable insights that will inform improvements to both the explanatory tutorial and the integration of visual aids within the virtual environment. Such enhancements aim to facilitate user interaction with the application’s internal tools. Although the overall experience was positively received by most users, post-experience discussions highlighted several areas for refinement. Among the suggestions were the inclusion of voiceover guidance, interactive assistance features, a virtual tour to introduce key functionalities, and various graphical improvements to enhance the overall user experience. At first, the comments triggered a surprise effect in the user upon entering the application, as they saw a highly detailed replication of what they knew in reality. As the user explored the space, improvement options were indicated: “It is very fun and useful to visualize the square and the campus buildings in real time, many activities can be organized here, but it makes you a bit dizzy.” “Can this type of application be used for other events like concerts or video games?” “I was a bit lost at first, but then I felt completely integrated into the square.” “It is a very useful tool.”.

The feedback collected was instrumental in guiding subsequent refinements, particularly with regard to the initial tutorial. Text-based explanations were reduced in favor of more visually oriented content. In addition, explanatory signs were incorporated to inform users about keyboard functions and controls. Figure 15 illustrates examples of the newly added instructional signage.

These modifications are intended to enhance navigation efficiency and improve the overall user experience within the immersive virtual environment. In the future, an increase in the number and diversity of users is projected, as well as the use of VR devices, with the purpose of analyzing the interaction between multiple individuals and the possible communicative dynamics that may arise through chat, voice, or other means. Likewise, updates and improvements implemented in the Spatial Toolkit Creator will be evaluated and, if deemed relevant, incorporated into the corresponding applications. Limitations were encountered while conducting this research work. On the one hand, technological limitations, as not all users have compatible devices (VR headsets, high-performance hardware), restricted the scope of the experience. Moreover, although immersion has advanced, emotional and symbolic representations can still feel artificial or limited in virtual environments. We are still far from real-time photorealistic simulations. Methodological limitations were also found, as a study conducted with a small number of users may have a more conceptual or experimental nature, such as this one, which could be improved with a large-scale user test. We also encountered social and cultural limitations in the variability of the meaning of commemorative elements. What may be symbolically significant for one community may not hold the same value for another, making the standardization of design difficult. Not everyone yet accepts the idea of experiencing processes of memory, mourning, or celebration in non-physical environments, and digitalization can decontextualize or dilute certain symbolic and emotional elements inherent to in-person events. There are evidently economic and sustainability limitations. The design of and immersive experiences require significant technical, human, and financial resources. The permanence of a digital twin or a commemorative environment in the MV may depend on factors such as maintenance, financing, and technological evolution. Hence, this research helps to reverse the current vertical trend of the MV, oriented towards large companies that can bear the creation costs, towards horizontal structures, which may be more affordable with free software like Unity or Spatial.io. Finally, we acknowledge the ethical and legal limitations we encountered. Commemorative events involve personal data, images, or memories that must be treated with special sensitivity and protection. The recreation of places, symbols, or commemorative events can conflict with legal rights or cultural sensitivities. It should be noted that the applications developed in this study have a high potential in the educational field, as they enable the dissemination of knowledge in an interactive and innovative manner [60]. As future research directions, the industrial application of these DTs is planned [61,62], as well as their application in sporting events within universities [63,64,65]. Their application in the field of health may aid with the coordination of medical leave for students and professors [66,67] and expansion to other campus buildings [68,69,70,71]. However, it is essential to consider aspects related to user privacy and data protection. In the current version of the application, the tests were conducted anonymously; however, in the future, the collection of user data may be required by clients, making compliance with current data protection regulations essential. Although this technology promotes global connectivity, accessibility, and inclusion, it is necessary to emphasize that it will not completely replace all human interactions. However, the environmental impact and sustainability of display devices in the future must be considered. The evolution of these devices should be oriented towards more eco-friendly and recyclable materials, following a trend similar to that observed in the mobile phone industry, where more compact devices with sustainable materials have been developed. In this context, Meta has introduced a prototype VR headset named Orion (see Figure 16), which offers a lighter, more efficient, and environmentally sustainable design relative to the existing Meta Quest 3 model. Although VR headsets’ initial cost is high, they are expected to eventually become everyday devices capable of integrating multiple functionalities, replacing devices such as mobile phones, smartwatches, and headphones, with the incorporation of VR and AR experiences.

5. Conclusions

This article analyzes the application of new technologies in the modernization and optimization of the education sector and, in particular, the field of event planning. Through the implementation of the *Spatial Creator Toolkit v1.60*, launched in October 2024, its usefulness as a tool for the creation of content in the MV has been demonstrated, specifically in the generation of the digital twin of part of Alcoi campus’s architectural complex. The empirical tests carried out have validated the methodology for the reproduction and design of the above-mentioned buildings, complemented with immersive simulation tools and some technologies typical of environments created for video games. With all this, it has been shown that these technologies are a resource for the dissemination of knowledge, which act for the benefit of participation—thanks to their immersive nature—and enhance multiple perception, based on an amplified general user experience. In this study, it has been show that the use of these technologies reaches beyond industry and engineering, being applicable to the cultural, educational, and commemorative fields. It is evident that the MV fosters integration among people from all over the planet, generating knowledge exchange to create more human and emotionally significant experiences in digital environments. People from different parts of the world can participate in significant events without physical or geographical barriers. Digital commemorative events allow traditions, tributes, or historical milestones to be kept alive in interactive formats. It offers theoretical frameworks and methodological proposals to study how collective memory can be represented in virtual environments. The MV allows for the reinterpretation and reinvention of tributes and celebrations from a creative and symbolic dimension, which expands the value of digital entertainment. Companies can design commemorative events in the MV to honor figures, historical moments, or key dates, creating an emotional connection with their audiences, with the possibility of generating an economic value through tickets, exclusive content, commemorative NFTs, etc. The results of this study suggest that these technologies are applicable in the educational field for different reasons because they increase the attractiveness of subjects and promote gamification-based learning. Likewise, the use of DT has been shown to contribute to another mode of user experience, with a broad and even unconventional usability, which provides added value to the virtual environments developed. Future lines of research propose to involve this knowledge in other areas of knowledge on campuses, such as those corresponding to materials science or electrical engineering, with the aim of personalizing activities that can be developed in workshops in a more specific way or turning conferences and events into more versatile activities by optimizing the transmission of scientific information. The anticipated potential of these technologies suggests that their adoption across various sectors will facilitate the transition towards Industry 5.0. This emerging industrial paradigm highlights the integration and collaboration between humans and automated systems, aiming to achieve more efficient and cooperative production processes. Unlike Industry 4.0, which is primarily characterized by automation and digitalization driven by artificial intelligence, Industry 5.0 prioritizes human well-being and sustainability. Future research plans include integrating this study with recent advancements such as virtual content generation and enhancements in head-mounted display (HMD) devices featuring transparent screens. Additionally, another objective is the development of a best-practices manual for content creation within the metaverse (MV). This guide will outline key technical and methodological principles for virtual environment design, covering fundamental aspects such as composition, color harmonization, and usability. Analogously to architectural or industrial design, where factors such as color, materials, ergonomics, and functionality are studied, the construction of spaces in the MV will require the adoption of specific minimum compositional design standards. The application of these guidelines will make it possible to differentiate between less ergonomic virtual environments and those that provide an improved experience.