In this article, we share our process of creating an augmented reality (AR) experience and video installation for an exhibition on Alvar Aalto’s life. Specifically, we reconstructed his temporary Forest Pavilion (Metsäpaviljonki), originally built for the Lapua Agricultural Fair in 1938. Through this project, we examined how extended reality (XR) can enrich storytelling, enhance cultural interpretation, and demonstrate that simplicity often creates the strongest impact.
At the end of the article, we also share some insights and tips for others who wish to implement a similar project. Our usability tests indicated that the audience is seeking a compelling story and prefer an experience that minimizes technological complexity. However, they still have many expectations regarding how the virtual experience should work, and what features should be applied.
From archive to augmented experience
The aim of the Virtual Nature -project was to explore how virtual solutions can expand travel and cultural experience. Finlandia Hall is currently curating a new Finlandia Exhibition to highlight Alvar Aalto’s work, and two aspects particularly inspired us:
- Many of Alvar Aalto’s creations exist today only through archival photographs and drawings.
- Alvar Aalto’s architecture often blends natural forms and materials, especially wood, into the surrounding environment (Taskinen & Bianco 2022; Laaksonen 2020).
The Lapua Agricultural Exhibition Forest Pavilion, designed as a temporary showcase of Finnish forestry, was a good and challenging candidate for reconstruction as it is not well known and only a few old newspaper photos and blueprint drawings remain archived. In an AR project like this, the most time-consuming part of the creation is to produce the virtual content that is then overlaid with the physical world. With support from the Aalto Foundation, we gained access to rare photographs and sketches that became essential for 3D modeling. These archival traces served not only as reference material but also as target images for our AR implementation.
Image by Sanni Aromaa.
We deliberately chose AR because it leverages visitors’ own smartphones, eliminating the need for exhibition providers to maintain costly devices. Furthermore, the next big technological move might be that the interface moves from handheld devices to wearable solutions like AR or smart glasses freeing our hands from the devices that enable us to see the virtual layers (Lang 2024). The AR approach created a hybrid experience where visitors could engage with the digital layer if they wished, but the exhibition still stands independently without it.
Balancing creativity and feasibility in AR development
The focus of the project was to create a user-friendly and sustainable AR experience. To minimize barriers, we chose a web-based AR (WebAR) approach, where scanning a QR code was enough to access the content, no app downloads required (Jain, 2023).
Early prototypes were built with 8th Wall, a platform widely used in WebAR development (Lee, 2022). Its ready-made templates sped up testing of concepts such as “pulling” the pavilion into the viewer’s space or creating portals into reconstructed interiors. While technically intriguing, these interactions proved unintuitive for general audiences, prompting a shift toward clarity and accessibility.
Licensing costs also became a challenge, as 8th Wall’s pricing model suits short campaigns, not permanent installations. We therefore adopted WorldCAST WebAR, a simpler platform better aligned with long-term needs, though its limited toolset required rethinking our approach.
Image by Janina Rannikko.
With WorldCAST, we focused on two simple experiences: a 360° interior view, rendered in Blender, allowing visitors to virtually step inside the pavilion, and a 3D exterior model, featuring a simple roof-lifting animation that revealed the interior without overcomplicating interactions.
WorldCAST’s image tracking was less robust, particularly with our black-and-white target images. Adding small spots of color improved recognition in some cases, but not all. To optimize WebAR, we reduced file sizes and simplified textures. What was originally a high-fidelity 3D model, designed with video production in mind, had to be carefully adjusted for real-time mobile performance.
Visual alternatives for broader accessibility
A small 3D print of the pavilion was also explored as a potential target object, rather than relying solely on flat target images. This approach would have allowed us to create what could be described as “a physical model transformed into an interactive virtual model.” In other words, visitors could interact with a tangible scale model while simultaneously experiencing a digital augmentation layered on top of it. Conceptually, this combination promised a particularly rich experience by blending tactile and visual engagement, something that image-based AR alone cannot provide.
Although the miniature print never made it into the final exhibition, mainly because tracking with a physical object proved far more challenging than with traditional images, the prototyping process itself was highly instructive. It gave us hands-on experience with the interplay between digital modeling, 3D printing techniques, and physical exhibition design.
Image by Emmi Isokirmo.
From the outset, we wanted to ensure accessibility for visitors who might not use smartphones for the AR experience. To this end, we created a short 2-minute video tour showcasing the Forest Pavilion inside and out, based on the high-quality 3D model. The interior was particularly challenging to reconstruct, as many archival photos were blurred and required interpretive guesswork. To give a sense of scale and atmosphere, we added subtle visitor figures in 1930s attire, not as focal points, but as contextual elements.
Following feedback from the exhibition experts, the video was refined: the camera movement was shortened for better pacing, lighting softened, and obstructing tree models adjusted in post-production. The visitor and decoration figures were rendered in black and white to keep attention on the pavilion itself. With no animations beyond the slow camera drive, the final piece evokes a moment frozen in time, echoing the stillness of archival photography.
Key insights from developing and testing the Forest Pavilion AR experience
Immersive technology can indeed bring history closer, but working on the Forest Pavilion AR reconstruction also reminded us that technical innovation should serve the story, not overshadow it. For others planning similar projects, a few insights stand out:
- Start with strong archival material. The quality of your references will shape the entire outcome. Photographs, drawings, and even partial documentation are invaluable when creating accurate 3D models. Early collaboration with archives, foundations, or museums can make the difference between guesswork and authenticity.
- Stories and underlying reasons are important. Our usability testers emphasized that they would have liked to receive more information about the building and to hear the story behind the challenges of bringing the pavilion back to life rather than read instructions on how to use QR-codes to open the AR experience.
- Choose tools based on context, not features. While advanced platforms offer endless possibilities, simpler solutions may often be more sustainable, both technically and financially. In our case, WebAR made the experience accessible to anyone with a smartphone, avoiding the need for costly hardware and lowering the threshold for visitor engagement. However, half of our usability testers would have preferred that the museum provides the devices used in the exhibition.
- Design for accessibility and inclusivity. Our usability testers highlighted that not all visitors are able or want to use their own devices and AR. Offering alternatives, such as video walkthroughs or physical models, ensures that the experience remains open and engaging to diverse audiences.
- Optimize for usability, not complexity. Some of our early AR prototypes were creative but unintuitive. The strongest results came from solutions that required no instructions: a 360° interior view and a simple 3D model with minimal interaction. Our usability test results showed that exhibition experiences succeed when they feel effortless. On the other hand, some of the usability test participants would have wanted more interactivity in the 3D model and the possibility to walk inside the virtual world, which are actually complex features from a technical point of view.
Looking back, one of our biggest success points was the ability to balance creativity with feasibility. By testing, simplifying, and adjusting our approach, we delivered an experience that combines virtual creation with the physical world. Another strength was the collaborative process, as working with Finlandia Hall, the Aalto Foundation, and service design experts provided both content accuracy and critical user perspectives.
On a broader level, projects like this demonstrate how XR can serve as a bridge between past and present. Immersive reconstructions are not merely digital novelties, they are tools for cultural interpretation, education, and storytelling. As technology continues to evolve, the real challenge is not to chase every new feature, but to keep focusing on what matters most: creating experiences that help people connect with history and nature in meaningful ways.
ChatGPT 4o has been used to refine the original text with more formal tone and checking grammar.
References
Jain, S. 2023. Understand basics of WebAR and Augmented Reality. Antaeus AR Blog, 14 November. (Accessed: 3 June 2025).
Laaksonen, P. 2020. Alvar Aallon jalanjäljillä. Helsinki: Rakennustieto Oy.
Lang, B. 2024. Why I think AR glasses are the inevitable future of the smartphone. Road to VR, 18 October. (Accessed: 3 June 2025).
Lee, L. 2022. Creating the future of AR with Niantic and 8th Wall. Marketing Dive, 11 July. (Accessed: 3 June 2025).
Taskinen, H. & Bianco, T. 2022. Alvar Aalto – muotoja ja tarinoita. Säynätsalo: Tavolo Bianco Oy. 66-69.
Authors
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Janina Rannikko
Specialist, Metropolia UASJanina Rannikko works as an RDI Specialist and Project Manager at Metropolia’s Helsinki XR Center. Her expertise in academic research is grounded in a PhD degree in paleobiology, while her understanding of virtual technologies, computers, and gaming stems from a long-standing engagement with a digital lifestyle.
About the author -
Emmi Isokirmo
Specialist, Metropolia UASEmmi Isokirmo works as a 3D Specialist in development projects at Metropolia’s Helsinki XR Center, with professional interests in innovative application development and 3D visualization.
About the author