Criteria for the Design of Mobile Applications to Cultural Heritage Tourism: The Case of Riobamba

Abstract

This research identifies key criteria for designing mobile applications for cultural heritage tourism, aiming to provide a planned, engaging, and functional solution that enhances the visitor’s experience and strengthens the competitiveness of destinations in the absence of technological tools for promotion and management. The city of Riobamba was selected as a case study due to its significant potential for this type of tourism. The proposed method is structured around three main dimensions: interpretative, inclusive, and immersive. The methodology combines a literature review, benchmarking, and user-centered design. The findings highlight the importance of integrating heritage storytelling, structuring information by levels based on user profiles, addressing the demand for practical data, and complementing digital resources with physical signage. The model is replicable if the tourism demand is adapted to the local supply of each destination.

1. Introduction

Heritage tourism has gained significant relevance in recent decades as a driver of development in urban contexts. It is based on the use of both tangible and intangible resources such as architecture, archaeology, gastronomy, and traditions to attract visitors, stimulate the local economy, and strengthen collective identities (Prats, 2011). This type of tourism focuses on the visitor’s experience of cultural heritage, aiming to foster understanding, appreciation, and valuation (Velasco González, 2009). The World Tourism Organization (UNWTO, 2023) defines it as an activity essentially motivated by the desire to learn about, discover, and experience the cultural assets of a destination.

The integration of digital technologies into cultural tourism requires approaches that link the physical territory with meaningful experiences in virtual environments (Garau, 2016). This articulation is not only possible, but necessary, as the convergence of cultural heritage and digital transformation redefines management models, the destination identity, and tourism positioning strategies (Boes et al., 2016). Bekele and Raj (2025) highlight that digital transformation directly impacts how tourism products are designed, offered, and consumed, favoring more agile, user-centered management tailored to dynamic markets. Similarly, Buhalis and Amaranggana (2015) argue that the integration of websites, apps, and social networks into a connected digital system enables support throughout all stages of the travel journey, increasing visitor engagement and satisfaction. Moreover, this connectivity facilitates more personalized and sustainable experiences by optimizing resources, managing visitor flows, and reducing environmental impact.

From an experiential perspective, information and communication technologies (ICTs) have transformed cultural heritage into a hybrid environment, where the physical and virtual merge to generate immersive, interactive, and personalized experiences (Cetin & Bilgihan, 2016). In this line, Timothy and Nyaupane (2009) assert that ICTs replace passive models with participatory approaches that actively engage users in the construction of cultural meaning.

Foronda-Robles et al. (2021) highlight how social networks and web platforms enable emotional and symbolic communication in real time. Economou (2015) adds that mobile applications provide continuous and personalized access to cultural content, promoting learning and exploration through tools such as augmented reality, virtual exhibitions, and storytelling. These experiences are enhanced by institutional websites and social media, which support planning, social interaction, and the formation of digital communities. Technologies such as transmedia narratives, contextual geolocation, multilayer interpretation, and gamification enrich the understanding of tangible and intangible heritage and transform the visitor’s relationship with cultural spaces (Neuhofer et al., 2015). These tools also contribute to heritage conservation by fostering greater public engagement.

Despite technological advances, most World Heritage Sites designated by UNESCO still lack adequate digital infrastructure. Only one-third have mobile applications and these rarely focus on enhancing interpretive experiences or highlighting the heritage value (Schieder et al., 2014; UNESCO, 2023). Recent studies also identify frequent limitations in existing applications, including a lack of personalization, outdated content, poor accessibility, an absence of multilingual support, and inadequate reservation management (Foronda-Robles et al., 2021; Sánchez Jiménez & Ravina Ripoll, 2017; Sierra Guillén, 2023). This scenario undermines the competitiveness of many destinations, hindering their ability to meet the demands of a globalized market.

In this regard, González-Rodríguez et al. (2020), along with Marasco et al. (2018), warn that the absence of mobile solutions leads to competitive disadvantages such as a failure to attract digital tourists, limited online reputation management, and the inability to build coherent territorial narratives that enhance visitor experiences.

Cultural Tourism Diagnosis: The Case of Riobamba

Riobamba is recognized as a heritage benchmark in Ecuador due to its historical richness, reflected in its colonial architecture, iconic monuments, and cultural diversity (Gobierno Autónomo Descentralizado de la Provincia de Chimborazo, 2015). Its historic center was declared Cultural Heritage of Ecuador in 2008 by the National Institute of Cultural Heritage (INPC), and many of its attractions exhibit a strong cultural identity.

According to the Updated Inventory of Tourist Attractions in the Canton of Riobamba (GADMR & ESPOCH, 2021), the canton has 187 tourist attractions, approximately 72% of which are cultural in nature. However, this heritage wealth has not translated into effective tourism consolidation: over 90% of domestic visitors remain in the city for just one day, indicating that Riobamba functions mainly as a transit destination (Pazmiño Santillán, 2019).

The tourism diagnosis of Riobamba reveals that national visitors, primarily aged between 25 and 44, originate from nearby cities such as Guano, Quito, Guayaquil, and Ambato. These travelers typically journey with family or friends, driven by motivations related to recreation and geographic proximity. In contrast, international tourists—ranging from 30 to 55 years old—arrive from various countries across Europe, the Americas, and other regions, seeking culturally enriching experiences linked to heritage and ecotourism. In both cases, there is a clear preference for visiting the city during holidays and local festivities, indicating a temporal pattern strongly associated with cultural events (Ipiales Olmedo, 2023; Buri-Mendonza, 2023). However, as noted by Pazmiño Santillán (2019), although approximately 61% of tourists express interest in cultural expressions such as gastronomy, local customs, or architectural heritage, this interest has not yet been translated into coherent experiential products capable of promoting extended stays.

Due to the lack of coherent and meaningful integration into experiential tourism products—such as themed routes, heritage trails, immersive experiences, or interpretive narrative tourist attractions—sites have not been effectively managed in terms of their use, promotion, or conservation. This disarticulation leads to issues that hinder tourism development, including the absence of a cohesive brand identity, inadequate graphic design, weak connections to social media, and suboptimal navigation experiences—all of which are essential for successful promotion (Foronda-Robles et al., 2021).

While cities like Quito, Guayaquil, and Cuenca have implemented integrated digital strategies to strengthen their tourism positioning (Sotomayor Granda, 2019), Riobamba continues to exhibit limited and poorly strategic participation in digital environments. As of 2022, only two tourism-related applications had been registered in the province of Chimborazo—neither focused specifically on cultural or heritage tourism—and both are currently unavailable (Urvina Alejandro et al., 2022).

This technological lag reduces Riobamba’s competitiveness at the national and international levels, underscoring the need to implement digital solutions that enhance the visitor experience, promote local heritage, and articulate the destination identity.

In response to this technological disadvantage and the need to strengthen cultural heritage tourism in Riobamba—a destination with high potential, but lacking integration between heritage and technology-based visitor experiences—this study proposes a set of design criteria for mobile applications focused on cultural heritage tourism. Based on an in-depth case study of Riobamba, this research aims to improve the city’s competitiveness, enhance the visitor experience, and build an authentic and sustainable tourism offering aligned with the demands of contemporary travelers. To this end, it seeks to identify essential content for such applications, establish usability and accessibility guidelines, and analyze successful national and international practices in mobile tourism solutions. Ultimately, this study contributes to strengthening cultural tourism in Riobamba by improving the articulation between heritage offerings and digital experiences and enhancing its sustainability and competitiveness in an increasingly digital tourism environment. Additionally, the proposed criteria offer a transferable framework for other heritage cities with similar characteristics, supporting their positioning as reference destinations.

2. Materials and Methods

This research presents a theoretical framework adopting several aspects of the research proposed by Garau (2016). The author implemented a strategic agenda for urban cultural tourism from the perspective of smart cities. The theoretical approach integrates technology, experience, inclusion, and strategic planning to transform how visitors interact with heritage. Three important aspects—established as objectives—were considered in this framework from the work of Garau (2016), which are stated as follows:

• The interpretive dimension focuses on providing content that not only informs, but also helps visitors understand and appreciate the heritage they engage with.
• The inclusive dimension ensures that such applications are accessible to all visitor profiles, reducing barriers and promoting equitable participation.
• The immersive dimension seeks to create an engaging experience that encourages exploration, active participation, and emotional connection with heritage.

A triangulation process was carried out using the three dimensions, as shown in Figure 1. A literature review was conducted first, focusing on academic studies and theoretical frameworks, resulting in a tourist cultural heritage profile and the identification of key elements for the design of digital content aimed at cultural and heritage tourism.

Second, a comparative benchmarking analysis was performed. Benchmarking is a methodology for identifying best practices (Spendolini, 1992), particularly useful for analyzing effective user-oriented design solutions. According to Lopez (2010), benchmarking in tourism has been used to identify good practices from other destinations that can be transferred and adapted to improve competitiveness and sustainability. The author also notes that the additional value of this management tool is to highlight best practices, implement innovative strategies, and promote sustainable tourism development. To incorporate the good practices from benchmarking, the Nielsen’s (1994) 10 usability heuristics were applied. These provide general principles for detecting strengths and weaknesses in the interaction design, navigation, visibility, visual consistency, and feedback.

Third, a User-Centered Design (UCD) approach was adopted, in accordance with ISO 9241-210 (ISO, 2019), which defines this approach as a process for developing interactive systems focused on usability and usefulness, placing emphasis on the users’ characteristics, needs, and expectations. In this study, particular attention was given to the profiles of tourists visiting the city of Riobamba, considering their specific demands and behavioral patterns.

Subsequently, functional components were defined for each dimension based on findings from the three studies. The MoSCoW method was then applied to establish functional prioritization, as it is widely recognized for its effectiveness and clarity in agile development environments (Kravchenko et al., 2022). This approach allowed for the hierarchical classification of functional requirements according to their importance in building the Minimum Viable Product (MVP). Features deemed essential were categorized as Must-Have, those offering additional value as Should-Have, desirable but non-essential features as Could-Have, and more complex or lower-priority items as Won’t-Have, to be considered in future iterations (Vijayakumar et al., 2024).

Finally, specific evaluation parameters were defined for each design dimension (interpretative, inclusive, and immersive), with the aim of assessing the operational effectiveness of the prioritized features and their degree of alignment with the objectives established in the theoretical framework.

3. Results

3.1. Literature Review

3.1.1. Profile of the Cultural Heritage Tourist

Unlike traditional tourism, heritage tourism allows visitors to approach, appreciate, enjoy, and understand cultural heritage, emphasizing its potential as a means of promoting the social value of cultural legacy (Troncoso & Almirón, 2005). The heritage tourist primarily seeks an educational and cultural experience that enables them to understand their own roots or appreciate the development of other cultures. According to Timothy and Boyd (2003), this pursuit of meaning transcends mere entertainment or escapism and moves toward the search for significant experiences. A central feature of this profile is that it “deeply values meaningful experiences linked to the cultural identity of the destination and emotional connection with heritage” (Timothy & Boyd, 2003; Poria et al., 2006).

Beyond this core motivation, heritage tourists demonstrate specific attitudes, interests, and preferences that must be considered when designing tourism experiences aligned with their expectations. Identifying these aspects enables the development of more precise criteria for planning and managing tourism products aimed at this visitor profile.

Table 1. Distinctive traits of the heritage tourist.

Characteristic	Description	Works
Authentic experiences	Values meaningful experiences connected to the cultural identity of the destination and emotional ties to heritage.	Timothy and Boyd (2003); Poria et al. (2006)
Participation	Seeks involvement in immersive activities such as visits to historical sites or cultural events.	Sierra Márquez et al. (2021); Richards (2018)
Alternative destinations	Prefers lesser-known places that offer unique experiences with historical value.	Gazzola et al. (2018)
Rejection of mass tourism	Avoids mass tourism in search of differentiated and more personal experiences.	Poria et al. (2006)
Sustainability awareness	Shows concern for sustainability and the environmental and social impact of their activities.	Gazzola et al. (2018)
Connection with local communities	Values relationships with local communities as a reinforcement of their sense of belonging.	Dela Santa and Tiatco (2019)
Appreciating local culture through food	Demonstrates interest in traditional expressions such as local cuisine.	Fusté-Forné (2016)

Note. Adapted from various authors cited in the literature review.

below summarizes the main characteristics of cultural heritage tourists according to the specialized literature.

Having a clearly defined profile of the cultural heritage tourist guides the design of mobile applications by enabling the adaptation of their functionalities to the motivations and preferences of this segment. As summarized in Table 1, this type of user seeks authentic, participatory, sustainable experiences that are strongly connected to the local identity. These traits help define the content, routes, and digital resources that foster a meaningful interaction with the heritage, thereby promoting a personalized, culturally rich, and emotionally engaging experience in contexts such as that of Riobamba.

3.1.2. Elements for Tourism Apps

The content elements within tourism applications—whether general or focused on cultural and/or heritage tourism—are essential for the quality of information and the overall user experience. The specialized literature identifies a wide range of components, from contextualized information and immersive digital narratives to technological solutions such as augmented reality, along with essential aspects of universal design and equitable cultural representation.

The elements identified through the literature review have been organized according to the interpretive, inclusive, and immersive dimensions of Garau’s (2016) theoretical model. This categorization enables a systematic organization of the content, establishes coherent design criteria, and ensures that key aspects of the tourism experience, such as heritage understanding, informational accessibility, and the degree of interaction, are effectively integrated.

Table 2. Mobile application elements according to the interpretive dimension.

Component	Description	References
Authentic narratives	Contextualized information on tangible/intangible heritage (monuments, customs, gastronomy, etc.) through multimedia formats (text, maps, and AR) to enhance heritage understanding.	González-Rodríguez et al. (2020); Grevtsova (2016); Sierra Guillén (2023)
Community participation	User interaction via reviews, shared content, cultural games, and AR/QR tools.	Marinakou et al. (2015)
AI integration	Content sequencing and auto-captioning through machine learning.	Pisoni et al. (2021)
Practical info	Timely display of basic destination services and points of interest.	Dickinson et al. (2012)
Cultural calendar	Event and activity info with integrated booking.	Navío-Marco et al. (2018); Femenia-Serra et al. (2019)
Cultural esthetics	Visual interfaces reflecting the destination’s heritage identity.	Chung et al. (2015); González-Rodríguez et al. (2020)

Note. Adapted from various authors cited in the literature review.

,

Table 3. Mobile application elements according to the inclusive dimension.

Component	Description	Works
Intuitive and customizable interface	Interfaces that are intuitive and accessible to users with varying levels of technological proficiency. The UI should adapt to individual needs through font size, search, and bookmarks.	Hernández (2021); Pisoni et al. (2021)
Personalized itineraries	Customized heritage routes based on user preferences, interests, availability, and mobility. Includes thematic and inclusive design for different user profiles.	García-Crespo et al. (2016); Hardy et al. (2017); Sierra Guillén (2023)
User-generated content	Reviews, photos, and experiences shared by visitors as a complement to official information.	Buhalis and Foerste (2015); Su et al. (2022)
Universal design	Features that ensure usability for people with functional diversity, following Universal Design principles.	Domínguez Vila et al. (2018); Ribeiro et al. (2018); Darcy and Dickson (2009)
Offline functionality	The ability to function offline or with limited connectivity, especially for features like booking or navigation.	Ciurea (2015); Hernández (2021); Sierra Guillén (2023)
Multilingual support	Automatic or selectable assistance in multiple languages to eliminate language barriers.	Sierra Guillén (2023); Pisoni et al. (2021)
Cultural diversity and representation	Inclusive content that respectfully represents cultural diversity, avoiding stereotypes and promoting plural narratives.	Mkono (2016); Pritchard and Morgan (2017)

Note. Adapted from various authors cited in the literature review.

and

Table 4. Mobile application elements according to the immersive dimension.

Component	Description	Works
Augmented reality experiences	Virtual reconstructions, historical recreations, or digital layers superimposed on real-world scenes (via camera or simulation), including labels, dates, or architectural details.	Kourouthanassis et al. (2015); Chung et al. (2015)
Immersive multimedia	Multimedia narratives combining images, text, and sound to present culture in a compelling and emotional way, optimized for platforms like Instagram or YouTube.	Koçyiğit and Küçükcivil (2022); Papathanasiou-Zuhrt (2024)
Immersive narrative integration	Structured storytelling combining digital and visual resources to contextualize heritage, enhance learning, and promote emotional engagement.	Papathanasiou-Zuhrt (2024); Su et al. (2022); Tom Dieck and Jung (2018); Mortara et al. (2014)
Communication strategy	Integration of social media and web platforms into a coherent communication strategy, using metrics to align content with audience interests.	Koçyiğit and Küçükcivil (2022); Buhalis and Law (2008)
Emotional interface design	Interactive elements that foster emotional connection and cultural identity, including chatbots or assistants offering content in various formats and languages.	Pallud and Straub (2014); Marasco et al. (2018); Sierra Guillén (2023); Pisoni et al. (2021)

Note. Adapted from various authors cited in the literature review.

present the results of this review, structured according to these three dimensions, providing a comprehensive background aimed at meeting the expectations of today’s cultural heritage tourist.

This study established a theoretical foundation for understanding the preferences of cultural heritage tourists in relation to the three dimensions defined for this research.

3.2. Benchmarking

Nielsen (1994) emphasizes that the usability of an application depends not only on intuitive design, but also on its ability to address specific issues related to navigation and accessibility. In this regard, a benchmarking analysis was conducted based on Nielsen’s 10 usability heuristics to establish a reference framework for application design in this area. By analyzing related applications because of the literature review, successful practices and common mistakes can be identified, establishing benchmarks that inform the user experience.

3.2.1. Selection of Applications

Spendolini (1992) recommends selecting at least five benchmarks for an effective comparative analysis. In alignment with this, the present study evaluated five mobile applications selected based on key strategic criteria. These included: (1) geographic and cultural representativeness—comprising two international applications to analyze global standards in digital cultural tourism, one Latin American app reflecting regionally adapted approaches for Spanish-speaking audiences, and two Ecuadorian applications to assess national strategies in heritage tourism; (2) sectoral relevance, as all applications were specifically developed to promote cultural and heritage tourism, allowing for a meaningful comparison in terms of the functionality and user experience; and (3) adaptability, by including both consolidated and emerging platforms to evaluate their potential for scalability, user management, and resource efficiency.

3.2.2. Comparative Analysis of Applications According to Garau’s Theoretical Model (2007)

To identify practical criteria to strengthen the design of mobile applications for cultural heritage tourism, a comparative analysis (benchmarking) of five representative applications in the sector was conducted, employing Nielsen’s (1994) ten usability heuristics. This analysis enabled the evaluation of key aspects of digital experience, such as navigation, interaction, visual design, and accessibility. To align the results with the adopted theoretical framework, the findings were reorganized according to three functional dimensions: interpretative, inclusive, and immersive. This classification facilitated the analysis of how the applications contribute to the understanding of heritage, the inclusion of diverse user profiles, and the creation of sensory and emotional experiences consistent with the cultural context.

The complete results of the comparative analysis are available in Appendix A (

Table A1. Comparative usability evaluation of tourism platforms.

Criterion	Clio Muse Tours (International)	Visit City (International)	Valparaíso (Latin America)	VisitQuito (National)	Descubre Cuenca (National)
1. Visibility of system status	Quick and functional visual feedback, but error messages could be more descriptive.	Fast-loading and clear messages, though help is not always available.	No clear system status messages or error warnings.	Functional interactive geolocation, but lacks visual feedback in some processes.	Basic error messages, but unclear for preventing issues.
2. Match between system and the real world	Intuitive language and symbols, though not all are universal.	Easy-to-understand icons and labels, but lacks specific cultural detail.	Detailed cultural descriptions, but lacks clear destination categorization.	Language focused on cultural heritage, but visual overload may hinder understanding.	Basic information without clear visual connection to local culture.
3. User control and freedom	Flexible navigation and clear options, but too many choices can overwhelm.	Open exploration and flexible options, but long lists may confuse new users.	Clear maps, but no customization or favorite-saving options.	Lacks effective customization and incomplete user control functions.	Basic navigation: lacks recommended or customizable routes.
4. Consistency and standards	Clean and consistent design, but limited language options affect international users.	Minimalist and consistent design, but weak visual identity.	Organized and consistent design but lacks deep cultural visual identity.	Graphic design with cultural elements, but visually overloaded in some sections.	Generic design with low visual impact or cultural connection.
5. Error prevention	Allows destination exploration before purchase, though process simplification is needed.	Purchase process needs more clarity to prevent errors.	Does not prevent errors; no warnings or confirmation messages.	Lack of error prevention in incomplete or non-functional features.	Basic error messages, not effective in preventing issues.
6. Recognition rather than recall	Intuitive icons and clear graphic design, but limited help in some sections.	Memorable icons, but weak graphic identity affects emotional connection.	High-quality photos and historical info help, but lacks functional categorization and customization.	Adequate visual representation of heritage, but lacks elements to reinforce user memory.	Scattered information and non-functional links affect recognition.
7. Flexibility and efficiency of use	Efficient search and advanced customization, though overwhelming for new users.	Flexible options, language switch available.	Flexible options, language switch, personalized itineraries, and save favorites, but limited accessibility.	Interactive maps, language switch, but no customization or save options.	Lacks personalization options and functional routes. No flexible options like language switch.
8. Esthetic and minimalist design	Clean and clear design; accessibility and readability could be improved.	Minimalist design with good contrast, but lacks a defined graphic identity.	Organized and minimalist design, but lacks a visual identity connecting with Valparaíso’s culture.	Sober interface with representative graphics, but overloaded in some sections.	Generic design without clear visual connection to cultural identity.
9. Help users recognize and recover from errors	Clear error messages, but not very descriptive.	Helpful messages, but need more detail for non-technical users.	No error messages to help users recover from mistakes.	Lack of effective messages to guide users in error recovery.	Basic but inefficient error messages to guide users.
10. Help and documentation	Functional help section, but not accessible in all areas.	Help is available, but not always accessible; location lacks consistency.	Limited help and lacks detailed documentation in key sections.	Partial help, not always available; functional multilingual support but incomplete.	Lacks a robust help section; information is basic and scattered.

). Below is a summary of the findings organized by functional dimension.

The comparative analysis of the applications Clio Muse Tours, Visit City, Valparaíso Patrimonial, Visit Quito, and Descubre Cuenca (see Appendix B) revealed specific strengths as well as significant limitations in relation to the three functional dimensions of the proposed model. In the interpretative dimension, Clio Muse Tours and Visit City stand out for their use of clear language; however, all the applications exhibit shortcomings in the narrative structuring and cultural contextualization of the content. Valparaíso Patrimonial and Visit Quito provide detailed descriptions, yet they are affected by a visual overload and limited supplementary documentation.

Regarding the inclusive dimension, Visit City incorporates personalized itineraries and multilingual support, whereas applications such as Descubre Cuenca and Visit Quito lack accessibility options and feature rigid navigation. Although Valparaíso Patrimonial integrates augmented reality, it does not adequately address the needs of users with functional diversity. In the immersive dimension, Clio Muse Tours and Visit City offer a smooth visual experience, but show low cultural relevance; only Visit City implements active geolocation. Valparaíso Patrimonial presents immersive features constrained by usability issues, and Visit Quito, despite aiming to reflect cultural identity, suffers from excessive visual saturation. Overall, a weak integration is observed between the narrative, visual esthetics, location-based technologies, and meaningful cultural immersion. These findings enabled the identification of isolated best practices, while also confirming the need to develop more coherent, accessible, and immersive solutions—thus justifying the design criteria proposed in this study.

3.3. User Research (UCD)

User-Centered Design (UCD) is defined as “a design approach that places the user at the center of the product and service development process, ensuring that their needs and experiences form the basis of all design decisions” (Norman, 1988). For the implementation of UCD, ISO 13407 (International Organization for Standardization, 1999) establishes key principles structured into four phases: understanding and specifying the context of use, specifying user requirements, producing design solutions, and evaluating the design. In this study, the city of Riobamba was selected as a case study, as it is a destination that has not yet been adequately promoted or managed through mobile applications.

First, during the analysis of the context of use, an in-depth understanding of the usage environment and the characteristics of the three identified tourist profiles visiting Riobamba was pursued. Second, for the specification of user requirements, surveys were administered and a focus group was conducted with 20 tourists per segment (both domestic and international, from the U.S. and Europe), aiming to identify their preferences regarding the content and expected functionalities of the application.

Phase three involved the development of a prototype informed by the literature review, benchmarking analysis, and the interests and preferences identified during the initial stages of the User-Centered Design (UCD) process. Phase four—addressed in the following section in turn, was structured based on the results obtained, focusing on verifying whether the prototype fulfills the functional components defined in this study, organized according to the dimensions established in the theoretical framework.

3.3.1. PHASE 1: Understanding and Specifying the Context of Use

For this phase, a mixed-method approach with purposive sampling was employed, combining the qualitative selection of representative user profiles with the application of closed, quantifiable questionnaires. A group of 20 tourists per segment (domestic and international visitors from the U.S. and Europe) participated in surveys and a focus group. The objective was to identify their preferences regarding content, expected functionalities, and value-added elements in a cultural heritage tourism application.

Tourism Demand in the City of Riobamba

According to Nguyen and Vu (2021), effective tourism management in small-sized cities with high tourism potential requires a deep understanding of tourists’ sociodemographic profiles and motivations. Similarly, Norman (1988) argues that a design philosophy centered on users’ needs and interests—such as age, origin, cultural preferences, and motivations—enables the development of functionalities that personalize the experience according to user expectations. This contributes to creating more usable and understandable products, thereby improving the user–system interaction.

Based on the tourist profiles identified in the literature review, which provide insights into the demographic characteristics, preferences, and motivations of both domestic and international visitors, it is possible to detect patterns related to the origin, age, motivations, and preferred activities. This understanding enables the personalization of content, the prioritization of application functionalities, the consideration of users’ digital literacy levels, and the anticipation of real usage scenarios within tourism contexts.

3.3.2. PHASE 2: Specifying User Requirements

User Personas

Based on the identified tourism demand in the city of Riobamba, three user profiles (“User Persona in the app”) were created. The first-person profile represents a male international tourist from Europe, aged between 45 and 54, with a probable interest in recreation, leisure, and adventure tourism. The second profile is a female international tourist from the United States, originally from Riobamba, aged between 35 and 45, likely interested in recreation and leisure with a focus on cultural attractions. Finally, the third profile is a male domestic tourist from Guayaquil, aged 35 to 44, with a probable interest in gastronomy, recreation, and leisure, preferably in geographically close destinations.

A mixed-method approach was used, combining the purposeful sampling of representative profiles with the application of closed-ended, quantifiable questionnaires. This approach allowed for the identification of relationships between user types and the desired functionalities of the mobile application.

Design of the Data Collection Instrument

The questionnaire was designed to identify the expectations, interests, and needs of tourists visiting the city of Riobamba, with the aim of informing the design of a mobile tourism application. A total of fourteen questions were formulated and grouped according to the theoretical model proposed by Garau (2016). The specific content of each question, along with the response options, is detailed in Appendix B (

Table A2. Questionnaire definition and results.

Questions	Options	Profile 1 European	Profile 2 American	Profile 3 National
1. What types of activities are you interested in when visiting Riobamba?	a. Adventure activities in nature (Chimborazo, Altar, among others) b. Visits to heritage buildings, churches, and public squares c. Festivities and celebrations (Pase del Niño) d. Visits to museums and handicrafts e. Tasting local gastronomy	18	15	16
		14	10	10
		10	16	8
		12	15	13
		20	20	20
2. What information would you like to be available in the app about Riobamba?	a. History and cultural background of the places b. Calendar of events and festivities c. Schedules and availability of activities d. Recommended routes e. Travel times and distances	17	18	14
		13	16	15
		10	11	12
		18	14	16
		11	14	18
3. How important is it that content adapts automatically to your profile?	a. Highly important b. Moderately important c. Neutral d. Minimally important e. Not important	20	15	12
		0	5	6
		0	0	2
		0	0	0
		0	0	0
4. What additional information would you like to be available in the app?	a. Information on weather conditions b. User reviews and feedback c. Information on accessibility for individuals with disabilities d. Internet connectivity at tourist sites e. Basic services (hospitals, pharmacies, ATMs)	9	7	10
		16	12	17
		7	8	7
		15	10	12
		16	15	14
5. How important is it that content includes stories or testimonies that humanize history?	a. Highly important b. Moderately important c. Neutral d. Minimally important e. Not important	16	12	15
		3	6	4
		1	4	1
		0	0	0
		0	0	0
6. What level of detail do you prefer in descriptions of heritage sites?	a. Brief descriptions (names and dates) b. Moderate detail, relevant information (basic data, brief historical context) c. Extensive detail, including historical and cultural information (basic data, historical and social context, cultural significance, symbolic value, curiosities, etc.)	2	4	4
		8	8	9
		10	8	7
7. What services do you consider essential for a tourism app?	a. Restaurants, cafés, and bars b. Transportation c. Accommodation d. Tour operators and local guides e. Others	15	14	13
		12	14	15
		14	13	12
		5	2	3
		3	4	4
8. What functionalities do you consider essential in a tourism app?	a. Geolocation for route tracking b. Multimedia content (photos, videos, audio) c. Sharing experiences on social media d. Itinerary planner e. Personalized recommendations f. Creation and customization of routes g. Language switching h. Marking favorite places	18	19	17
		16	14	12
		10	17	15
		10	11	8
		7	8	9
		13	14	12
		18	12	6
		16	8	6
9. How important is it that the app includes digital interaction resources?	a. Highly important b. Moderately important c. Neutral d. Minimally important e. Not important	6	3	10
		10	5	7
		1	10	2
		0	0	0
		1	2	1
10. What types of digital resources would you like the app to include?	a. Augmented reality for immersive experiences b. Virtual tours of cultural sites c. Tools such as QR codes d. Virtual characters/chatbots e. Gamified experiences (challenges to earn points or rewards for visiting certain places) f. Personalized recommendations based on user interests	13	16	14
		12	13	10
		10	9	9
		7	6	5
		15	16	14
		14	13	12
11. How important is it that the app promotes destination sustainability?	a. Highly important b. Moderately important c. Neutral d. Minimally important e. Not important	5	3	4
		6	7	5
		9	8	10
		0	0	0
		0	2	1
12. How important is accessibility for users with visual or hearing impairment?	a. Highly important b. Moderately important c. Neutral d. Minimally important e. Not important	3	3	5
		14	12	9
		3	4	5
		0	1	1
		0	0	0
13. How important is it to include visual elements reflecting Riobamba’s cultural identity?	a. Highly important; it should be a central component b. Moderately important; it should be present in a balanced manner c. Neutral; I am indifferent to whether they are included or not d. Minimally important; I would prefer they not be included e. Not important; I do not wish for them to be included	2	8	4
		17	11	15
		1	0	0
		0	1	0
		0	0	1
14. What type of visual elements do you prefer?	a. Colors, shapes, and textures inspired by local culture b. Photographs of attractions and activities c. Immersive videos of routes and attractions d. Icons representative of local culture e. Others	18	19	17
		16	15	14
		8	9	10
		14	13	12
		10	9	8

). These items were developed based on a literature review and a benchmarking analysis.

To assess user expectations regarding the quality and depth of the interpretive content, questions were designed to explore visitor interests and preferences related to Riobamba’s main tourist attractions. In accordance with the updated inventory of tourist attractions in the canton, the most prominent sites were selected based on their hierarchy and level of public dissemination, two key criteria for assessing the relevance of an attraction. Hierarchy refers to the site’s degree of importance, determined by factors such as the quality, accessibility, conservation status, available infrastructure, and capacity to support tourism activities. Dissemination refers to how well-known and promoted the attraction is through media, social networks, or tourist guides.

These questions aim to help prioritize which sections or functionalities should be developed in greater detail within the mobile application. They also explore visitors’ preferences regarding the types of information they consider most valuable when planning or engaging in a visit, such as historical, cultural, logistical, or gastronomic data.

3.3.3. PHASE 3: Producing Design Solutions

The prototype was developed based on triangulation: the analysis of the context of use (Phase 1), the specification of user requirements (Phase 2), and additional sources such as the literature review and benchmarking of similar applications. The contents and functionalities incorporated into the prototype were defined as follows (see Figure 2), based on the triangulation of the specialized literature, benchmarking, and results from the User-Centered Design (UCD) process.

In the interpretative dimension, all three sources agree on the importance of providing clear, useful, and contextualized information, avoiding fragmented data. Accordingly, the main menu was structured into five sections: Routes, Destinations, Services, Flavors, and Inspiration. The UCD process revealed that tourists visiting Riobamba highly value content related to history, cultural significance, and local traditions. In response, thematic routes were categorized (churches, squares, museums, monuments, gastronomy, heritage buildings, and nature), a structure also validated by the literature as effective for heritage interpretation. Structured informational sheets were included, featuring practical data such as opening hours, location, and managing entities, in line with good practices identified in the benchmarking. The UCD also emphasized the need to include complementary services such as hospitals, pharmacies, and ATMs, which were integrated into the map layer. A dedicated section on local gastronomy (“Sabores”) was added to highlight typical dishes like hornado, prioritized both in the literature and by UCD participants. Visually, the prototype includes a color-coded text hierarchy, custom icons for each destination, and photographic galleries—resources also found in benchmarked applications such as Clio Muse.

In the inclusive dimension, triangulated findings indicated that accessibility is a critical factor, especially for users with functional diversity. The literature presents this as a principle of universal design, the benchmarking showed partial implementation, and the UCD confirmed its high value among users. The prototype includes basic configuration options such as language selection, text size adjustment, contrast, and notifications, features commonly present in the benchmarked applications. Intuitive iconography and legible typography were also implemented, though some sensory accessibility features—such as text-to-speech, full visual scaling, and dark mode—remain in development. Regarding personalization and connectivity, offline navigation was enabled through downloadable routes, maps, and destinations, aligning with recommendations from the literature and UCD preferences. User-generated content (e.g., reviews, ratings, and comments), recognized in the literature as a mechanism of social validation and partially present in benchmarked apps, was considered in the design as a feature to be fully developed in future versions.

In the immersive dimension, the three sources highlighted the value of advanced technologies to enrich the interpretive experience. The UCD identified augmented reality (AR), 360° views, and audio guides as highly desirable features, while benchmarking documented their use in standout cases such as Valparaíso Patrimonial. These functionalities are planned for future integration, but are not yet fully implemented. The visual design of the prototype reflects Riobamba’s cultural identity through a local chromatic palette, heritage-inspired icons, and animated welcome screens, consistent with the literature and benchmarking recommendations. Finally, although sustainability was identified in the literature as a relevant component, it was not prioritized by UCD participants and thus was not included as a central feature in this initial phase.

The prototype can be viewed at the following link. https://www.figma.com/proto/oneExitdZWZZAdp5eZm0TU/RioRutas-Nueva_Actualizacion?node-id=138-4383&p=f&t=6lrMryNdQ8tSr4mw-1&scaling=scale-down&content-scaling=fixed&page-id=0%3A1&starting-point-node-id=50%3A304 (accesed on 30 July 2025).

Analysis and Interpretation of Results

This section presents three key elements: (1) the definition of the design criteria with corresponding operational functionalities to ensure the fulfillment of the proposed objectives for each functional dimension of the project structured according to Garau’s (2016) theoretical model; (2) the prioritization of functionalities using the MoSCoW methodology, which enabled the structuring of a Minimum Viable Product (MVP) aligned with the project’s interpretative, inclusive, and immersive dimensions; and (3) the definition of specific evaluation parameters for each dimension to verify the operational effectiveness of the proposed functionalities and their degree of alignment with the established objectives.

Interpretive Dimension

In response to the diagnostic analysis, six interpretative design criteria were established for the development of the tourism application. The first aims are to ensure content quality through validation by local experts, accessible writing (CEFR B1 level), professional translation (ES/EN), and the integration of physical signage with QR codes and NFC tags that provide access to multimedia content contextualizing each site. The second criterion proposes defining a main narrative logic for the attractions and routes (storytelling) to enhance comprehension. The third focuses on structuring the content to support the thematic narrative, facilitate user navigation, and offer layered levels of information tailored to the user’s profile (casual, motivated, or expert), allowing for gradual access without overloading the interface. The fourth criterion seeks to position gastronomy as a central component of the tourist experience. The fifth incorporates functional data and maps with differentiated icons representing points of interest and services. Lastly, the sixth criterion emphasizes integrating cultural identity into the content and visual design, establishing a territorially rooted narrative.

Table 5. Operational design model for the interpretative dimension: criteria, functionalities, and evaluation parameters.

Design Criteria	Functional Components	MoSCoW Priority	Evaluation Parameter (Technical Metric)
1. Ensure content quality	Accurate, culturally relevant information per site or route	Must-Have	>90% correct answers in post-reading quizzes per attraction; number of QR scans
	Clear and simple language	Must-Have	≥90% understand content without assistance (post-use interview)
	Multilingual support and language selector	Must-Have	≥90% switch language without difficulty during guided task
	Physical signage with digital access via QR or NFC tags activating text, audioguides, AR, or other media	Must-Have	≥80% access QR/NFC per point of interest
2. Define narrative logic of attractions and routes	Thematic storytelling per site or route	Must-Have	≥90% identify main theme after guided task or thinking aloud
	Classify narrative content types (legends, biographies, cultural practices, etc.)	Must-Have	≥80% correctly identify narrative type (post-use survey)
3. Structure content	Standardized templates by content type (sites, routes, or services)	Should-Have	≥85% navigate between templates without errors
	Service and POI sections (lodging, ATMs, etc.)	Should-Have	≥80% locate basic services without assistance
	Categorization by route or thematic itineraries	Should-Have	≥80% access thematic itineraries during navigation test
	Progressive content layers via tabs or collapsible sections (“more info/less info”)	Could-Have	≥75% use “see more/less” tabs at least once
	Thematic route builder	Should-Have	≥70% create a personalized route without assistance
	Cultural events calendar	Should-Have	≥60% interact with at least one event during testing
4. Promote gastronomy as a core tourism experience	Local gastronomy section	Should-Have	≥80% explore section; high average scroll rate
	Geolocated restaurant notifications	Could-Have	≥60% interact after receiving notification
	Gamification (badges, coupons)	Could-Have	≥40% redeem rewards at least once
	Co-created content with local actors (e.g., restaurants, producers, and cooks)	Could-Have	≥20% mention interest in local content (interview)
5. Include useful information	POI identifiers (icons)	Must-Have	≥85% identify icons correctly during guided tasks
	Interactive maps with geolocated markers	Must-Have	≥90% locate POIs accurately during navigation
	Functional data (travel time, distance, availability, schedules, and transport options)	Must-Have	≥80% access key data without assistance
6. Incorporate cultural identity into content and design	Culturally rooted visual design (graphics or photo galleries)	Should-Have	≥70% recognize at least two local graphic elements
	Audiovisual testimonies from local actors and living heritage	Won’t-Have	≥60% play at least one full testimonial

presents an operational design model for the interpretative dimension, linking each criterion to functional components and priority levels based on the MoSCoW model. This structure translates diagnostic findings into solutions that ensure an informative, contextualized, and identity-driven user experience.

To evaluate the interpretative dimension, a combination of digital trace analysis and qualitative techniques is proposed. Comprehension assessments (post-reading questionnaires), guided tasks, and think-aloud protocols are used to gauge narrative understanding. Trace data include metrics such as sections accessed, time per section, clicks on collapsible menus, and the usage of features like the calendar and route builder. Additionally, user interactions in the gastronomy section (clicks, scrolling, and coupon usage) and the effectiveness of service searches are monitored through timed tasks and success rates. User perceptions are collected via post-use interviews and surveys, with a focus on observations related to cultural representation.

Inclusive Dimension

The central objective of this dimension is to design accessible, equitable, and customizable experiences that allow users with diverse abilities to process, understand, and enjoy the content without barriers or reliance on internet connectivity. First, through a universal design, the aim is to ensure that all spaces and content are functional for individuals with functional diversity. Second, through content personalization, the system adapts automatically to each user’s profile. Third, offline experiences are ensured through preloaded routes, maps, and content. Fourth, user-generated content (reviews, ratings, and comments) serves to socially validate routes. Finally, the content is structured considering different information processing styles to support varied cognitive profiles and levels of literacy.

Table 6. Operational design model for the inclusive dimension: criteria, functionalities, and evaluation parameters.

Design Criteria	Functional Components	MoSCoW Priority	Evaluation Parameter (Technical Metric)
Universal Design	Adaptive contrast	Must-Have	≥90% report good text readability under bright light or background glare (post-use interview)
	Scalable text size	Must-Have	≥90% read easily using zoom (post-use interview)
	Intuitive icons (inspired by ISO 7001) with descriptive labels	Should-Have	≥85% correctly identify icon/function unaided (think-aloud)
Content Personalization	Personalized settings (language, cognition, text size, and contrast)	Should-Have	≥70% configure profile correctly on first attempt (guided tasks)
	Automatic UI adaptation based on profiles	Should-Have	Profiled users show reduced errors (A/B test + interview)
Facilitate Offline Experience	Downloadable routes, content, and maps for offline use	Must-Have	≥90% download and use content offline (guided tasks)
Incorporate User Content	Review section with distinct icons and typography	Could-Have	≥20% contribute reviews, ratings, or comments (one-week test)
	Integrated buttons to easily share opinions on social media	Could-Have	≥30% click “Share” button (internal analytics)
Organize Content by Processing Style	Structured content using headings, lists, graphics, and icons to support diverse cognitive styles	Should-Have	≥80% answer comprehension questions correctly (post-reading quiz)
	Multisensory options: read-aloud, subtitles, explanatory animations	Won’t-Have	≥50% use audio/subtitles; ≥80% of content includes these options (post-use interview)

presents an operational proposal for the inclusive dimension, integrating key criteria with their corresponding functional components, implementation strategies, and MosCow priority levels. Each criterion, derived from the diagnostic phase, is translated into concrete solutions within the mobile application. These are aligned with WCAG 2.1/ISO 40500 standards (World Wide Web Consortium [W3C], 2018; International Organization for Standardization, 2012), which require content perceptibility and operability, and EN 301 549 (European Telecommunications Standards Institute, 2021), which extends WCAG to ensure compatibility with assistive technologies and offline capabilities in mobile applications.

To validate the inclusive dimension, mixed methods were applied, based on W3C recommendations and accessible usability studies. Post-reading quizzes assessed comprehension, post-use interviews and think-aloud sessions identified cognitive and perceptual barriers, interaction metrics (e.g., the use of profiles, social buttons, and audio/subtitles) quantified the adoption of inclusive features, and automated audits verified technical compliance with WCAG 2.1. This ensures the experience is usable, understandable, effective, and accessible, particularly for users with disabilities.

Design Criteria Based on the Immersive Dimension

The immersive dimension seeks to transform the cultural journey into a multisensory and personalized experience through six key criteria. First, Augmented Reality (AR) enables historical reconstructions and the visualization of disappeared elements, activated through QR codes or geolocation, deepening the visitor’s connection with the past. Second, the visual interface featuring local cultural identity across digital screens and physical signage strengthens the visitor’s sense of place and belonging. Third, virtual assistants (chatbots with historical character avatars) provide cultural guidance, personalized responses, and route recommendations, combining knowledge and usability. Fourth, self-guided and customizable tours give users full control, allowing them to select, organize, and save points of interest through interactive maps tailored to their preferences. Fifth, multimedia and multisensory content (e.g., audio guides with ambient sounds, 360° videos, and animations) enriches the emotional and sensory experience by connecting with authentic heritage elements. Finally, the cross-cutting integration of sustainability fosters environmental awareness and responsibility without diverting from the cultural focus, promoting a more respectful and sustainable tourism model.

Table 7. Operational design model for the immersive dimension: criteria, functionalities, and evaluation parameters.

Design Criteria	Functional Components	MoSCoW Priority	Evaluation Parameter (Technical Metric)
1. Augmented Reality	3D models activated via QR/geolocation	Should-Have	≥70% access the model during the first guided test
	Contextual information via AR	Won’t-Have	(excluded from first prototype)
2. Interface with Local Identity	Visual theme (textures, colors, patterns) reflecting local identity	Should-Have	≥80% recognize at least one cultural graphic element (post-use interview)
	Digital/physical signage with local identity	Must-Have	≥90% locate the correct point using QR or physical signage (guided task)
3. Virtual Assistants	Chatbot with historical avatar	Could-Have	≥50% of users interact with the avatar (free test)
	Guided assistant led by local character	Could-Have	≥60% complete the full guided route (task-based test)
	Automated profile-based suggestions	Must-Have	≥70% click on at least one system suggestion during first session
4. Self-Guided Tours	Personalized route builder	Must-Have	≥80% complete at least one custom route without errors
	Interactive maps with POI markers	Must-Have	≥90% correctly locate 3 key points during exploration task
5. Multimedia and Multisensory Content	Audio guides with ambient sounds triggered by QR or NFC	Should-Have	≥60% play at least one track in the sound section
	Navigable 360° views	Won’t-Have	Not applicable (excluded from first prototype)
	Interactive animations	Could-Have	≥50% fully view at least one animation in multimedia section
6. Sustainability (Conservation)	Eco-labels in content	Could-Have	≥40% identify eco-labels in viewed content
	Information on environmentally friendly practices	Should-Have	≥60% recall at least one practice (post-use interview)
	Conservation respect reminders	Won’t-Have	(excluded from first prototype)

presents a clear and strategic progression: it prioritizes essential elements for the launch (such as physical signage, a route builder, and personalized suggestions); positions non-essential but experience-enhancing components (like basic AR, thematic interface, and audio guides); includes optional features that add value if resources permit (e.g., chatbots, animations, or eco-labels); and excludes complex or high cost–benefit components (e.g., contextual AR and 360° views) for the initial version. This approach allows the focus to remain on developing a robust MVP before expanding the immersive proposal.

To validate the immersive dimension, specific tests are applied according to each functionality. These include post-AR quizzes and the AR Presence Questionnaire to assess immersion, surveys to evaluate visual coherence and signage recognition, orientation tasks to test navigational effectiveness, A/B testing and usage logs for personalized suggestions, interaction metrics for multimedia tools, and interviews to assess eco-labels and environmental prompts.

For the evaluation phase, the process began with the prototype developed during the UCD. Subsequently, the criteria were defined and organized into functional dimensions, the MoSCoW model was applied to prioritize the components, and a checklist was used to verify compliance with these criteria.

3.3.4. PHASE 4: Evaluation

Given that this study provides a conceptual foundation for the design of mobile applications oriented towards cultural heritage tourism, the proposal is considered solid, though with areas for improvement. It is recommended that, once a functional version of the application is developed, a comprehensive evaluation be conducted to assess its performance in terms of the User Interface (UI), User Experience (UX), and technical development, based on the evaluation parameters established herein. It is anticipated that both the development and implementation processes may face technical and conceptual challenges, particularly regarding the integration of immersive and adaptive resources, which should be addressed in subsequent phases of this study.

The functional prioritization based on the MoSCoW model, along with the definition of evaluation parameters grounded in user-centered technical metrics, constitutes a strategic tool to guide both the initial design and the progressive improvement of the application. These metrics will not only validate the effectiveness of each component in real-world usage scenarios, but also support ongoing evaluation processes aimed at evidence-based decision making. In this way, the application is expected to evolve in alignment with user needs and with established standards of accessibility, usability, and heritage interpretation over the medium and long term.

Finally, a benchmarking comparison of five tourism platforms was conducted using a checklist based on the proposed framework dimensions. The results reveal limited advancements. In the interpretative dimension, there is a lack of a narrative structure and cultural categorization. In the inclusive dimension, international platforms offer multilingual support and limited personalization, while national platforms show significant shortcomings in accessibility and user adaptation. In the immersive dimension, there is an absence of technologies such as AR, 360° views, virtual assistants, and heritage content. These limitations reinforce the need for applications of this nature to be further enhanced through the integration of these functionalities.

4. Discussion

This research provides a theoretical framework to identify a more comprehensive and structured design criteria of heritage tourism using immersive, interpretative, and inclusive dimensions partially based on Garaou’s work, using as case study such as Riobamba City. Unlike many tourism applications that offer limited contextual information or generic content, this prototype stands out by providing thematically organized routes, progressive content depth, and culturally tailored visual elements, such as animated icons and multilingual support. Moreover, it emphasizes local identity through features like the “Sabores” section showcasing traditional cuisine. While related apps may incorporate basic multimedia or mapping features, this prototype integrates advanced immersive technologies such as 360° views and audio guides and introduces a custom route builder—features not commonly found in similar applications. However, in contrast to some existing platforms, it currently lacks emotionally engaging narratives, local actor participation, and comprehensive accessibility tools, pointing to areas for future development.

A comparison between five tourism platforms (benchmarking) has the following outcomes. In terms of the interpretation, a narrative structure and cultural categorization are lacking. In terms of inclusion, international platforms offer multilingual support and some customization, but national platforms lack accessibility and user adaptation. In terms of immersion, technologies such as AR, 360°, virtual assistants, and heritage content are lacking. These limitations support the development of a new application that integrates these functionalities.

As mentioned, a prototype mobile application has been developed using the MosCoW method to identify the most relevant criteria to be included. Functional prioritization using the MoSCoW mode, along with the definition of evaluation parameters based on user-centered technical metrics (presented in Table 5, Table 6 and Table 7), constitutes a strategic tool to guide both the initial design and progressive improvement of the application. These metrics will not only validate the effectiveness of each component in real-world contexts but will also facilitate the ongoing evaluation aimed at evidence-based decision making. This ensures that the application evolves in line with user needs and accessibility, usability, and heritage interpretation standards in the medium and long term. Nevertheless, these metrics should be evaluated by conducting UX testing using a large and representative sample of tourists, using Riobamba as a case study. It is worth mentioning that UX testing is considered in future research.

5. Conclusions

This study contributes to the design of mobile applications for cultural heritage tourism by proposing a conceptual and methodological framework based on three functional dimensions—interpretative, inclusive, and immersive. Through the triangulation of the specialized literature, the benchmarking of existing applications, and User-Centered Design (UCD) results, this study established functional design criteria aligned with the real needs of cultural tourists. These criteria, grounded in theoretical models and adaptable to destinations with a high heritage potential but low technological integration, guided the development of a prototype that addresses current user expectations in a structured and context-sensitive manner.

Although Riobamba was chosen as the case study, the proposed criteria can be extrapolated and adapted to diverse territorial realities. Nevertheless, their implementation requires contextualization based on visitor profiles, local cultural dynamics, and levels of technological maturity. For instance, natural attractions, identified as an opportunity to complement the heritage on offer and enrich the understanding of the territory, could be considered in further studies.

Through the identification of three user profiles, this study validates the relevance of User-Centered Design (UCD) approaches by revealing diverse needs, motivations, and levels of digital literacy. This reinforces the idea that effective mobile applications must not only enhance the understanding of heritage, but also foster emotional engagement and cultural appropriation across diverse audiences.

The proposed design criteria spanning from content structuring and narrative strategies to inclusive interface design and immersive functionalities offer a practical guide for UX/UI designers, tourism managers, and public institutions. Designers can apply them to develop meaningful and accessible interfaces, managers can use them to align digital tools with strategic goals, and policymakers may rely on them to support investment planning and interinstitutional collaboration.

Despite the proposed theoretical framework providing a complete perspective in designing a heritage mobile app, the app implementation is essential to validate it by users and all interested parties. It is worth mentioning that app development is the next step of this research. Future research should focus on developing functional prototypes, conducting usability and UX testing with real users, and assessing the effectiveness of the proposed criteria through indicators such as visitor satisfaction, engagement, and destination identity. These evaluations will strengthen the model’s scalability and inform context-sensitive design adaptations.

Finally, the success of any mobile and technological solution relies on a comprehensive communication strategy that unifies physical and digital branding, fosters coherent interpretation, and builds a strong and authentic identity. Active involvement from local authorities and cultural institutions is crucial for sustaining such initiatives and ensuring their alignment with broader tourism development objectives.