Cave Walk started as a cross-sectoral collaboration between an arts education researcher in Brussels and a Danish artist working with immersive technologies. The result is a multi-user VR experience that allows visitors to step inside a 3D-scanned lava cave and discover how geology, folklore, and artistic storytelling can converge underground.
Cave Walk is a cross-sectoral collaboration between Elvira Crois, a researcher in arts education at the Vrije Universiteit Brussel (Belgium), and Bob Lundgreen from the Danish art collective Nyskaben. The project combines artistic practice, immersive technology, and geological research to create a shared virtual reality experience that introduces audiences to underground geological landscapes.
Supported by VR programmer Hannibal Glaser and geological experts Sophie Verheyden (Institute of Natural Sciences) and Serge Delaby (UNESCO Geopark Famenne-Ardennes), the project brings together knowledge from different fields to translate scientific information into an accessible and imaginative format. Up to ten participants can simultaneously navigate a virtual cave environment, encountering geological explanations, visual storytelling, and narratives about the cultural meanings associated with subterranean spaces.
For its prototype, the team worked with a high-resolution 3D scan of Stefánshellir, a lava cave in Iceland. This scan provided a realistic spatial environment that allowed the team to layer scientific explanations and artistic storytelling within a visually immersive setting.
During the experience, visitors learn how lava caves form, discover the phenomenon of so-called “ghost stalactites", and encounter stories and folklore linked to hidden worlds beneath the earth’s surface. The aim is not only to communicate geological knowledge, but also to spark curiosity and imagination about landscapes that are rarely accessible to the public.
The prototype was presented at the I Love Science Festival in Brussels from 10 to 12 October 2025. Over three days, the team guided more than 1,100 participants through the experience, approximately 80% of whom were children under the age of twelve. The project will continue its journey in 2026 at Phenomenal Viborg in Denmark, expanding its reach to new audiences.
Beyond the public presentation, the project generated significant learning outcomes for the team. On the technical side, the collaborators expanded their expertise in multi-user VR development, headset management, troubleshooting technical glitches, and designing safe onboarding procedures for large groups of visitors.
The collaboration with geological experts also deepened the team’s understanding of lava-cave formation, geological conservation challenges in Iceland, and the cultural narratives associated with underground landscapes. At the same time, the process strengthened research skills such as interviewing specialists, gathering reliable scientific information, and processing photogrammetry and LiDAR data.
The development process evolved considerably from the original plan. Initially, the project aimed to use a 3D scan of a limestone cave in Belgium. Although the team gained access to the scan, permission to use it in the project was ultimately denied by the private owners.
This unexpected obstacle required the team to rethink their approach and shift the project’s focus to Iceland, where VR programmer Hannibal Glaser is based. Existing scientific contacts helped facilitate access to a suitable lava cave. What was initially designed as a five-day research trip expanded into more than a month of intensive work, including scanning, artistic development, VR implementation, and consultations with geological specialists.
The cross-sectoral nature of the project proved to be one of its strongest aspects. Cave Walk brought together expertise from art, education research, VR technology, and geology, building on a previous collaboration between Crois and Lundgreen around a cave-themed comic project.
Encounters during the I Love Science Festival further expanded this network and opened new opportunities for interdisciplinary cooperation. The team now considers the current version of Cave Walk a functional prototype. Future iterations will focus on strengthening the interactive elements of the experience—for example, by allowing users to trigger events within the cave environment, such as the appearance of ghost stalactites.
The project also highlighted the importance of close collaboration between artistic and technical partners. Increasing opportunities for in-person work sessions between the visual artist and the VR programmer will help streamline the creative and development process in future versions.
Two main challenges shaped the development of Cave Walk. The first was the inability to obtain permission to use the originally planned cave scan, which forced the team to change location and rethink the workflow. The second was the geographical distance between key collaborators during parts of the production process, which slowed development but was ultimately overcome through remote coordination and intensive in-person collaboration.
Despite these challenges, the project successfully delivered an engaging and technically robust VR prototype. The strong public response at the festival demonstrated the potential of combining artistic storytelling, scientific research, and immersive technology to make geological heritage accessible to new audiences
