In this article, we present a lifecycle study of We Dare You , a substitutional reality installation that combines visual and tactile stimuli. The installation is set up in a center for architecture, and invites visitors to explore its facade while playing with vertigo, in a visual virtual reality environment that replicates the surrounding physical space of the installation. Drawing on an ethnographic approach, including observations and interviews, we researched the exhibit from its opening, through the initial months plagued by technical problems, its subsequent success as a social and playful installation, on to its closure, due to COVID-19, and its subsequent reopening. Our findings explore the challenges caused by both the hybrid nature of the installation and the visitors’ playful use of the installation which made the experience social and performative—but also caused some problems. We also discuss the problems We Dare You faced in light of hygiene demands due to COVID-19. The analysis contrasts the design processes and expectations of stakeholders with the audience’s playful appropriation, which led the stakeholders to see the installation as both a success and a failure. Evaluating the design and redesign through use on behalf of visitors, we argue that an approach that further opens up the post-production experience to a process of continuous redesign based on the user input—what has been termed design-after-design —could facilitate the design of similar experiences in the museum and heritage sector, supporting a participatory agenda in the design process, and helping to resolve the tension between stakeholders’ expectations and visitors’ playful appropriations.

中文翻译：

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我们敢你

在本文中，我们提出了一个生命周期研究我们敢你，一个结合视觉和触觉刺激的替代现实装置。该装置设置在建筑中心，并邀请参观者在一个虚拟的虚拟现实环境中探索它的立面，同时在一个虚拟的虚拟现实环境中复制装置的周围物理空间。借助包括观察和采访在内的民族志方法，我们研究了展览从开幕到受技术问题困扰的最初几个月，随后作为社交和娱乐装置的成功，再到由于 COVID-19 而关闭，以及随后重新开放。我们的研究结果探讨了装置的混合性质和参观者对装置的有趣使用所带来的挑战，这使得体验具有社交性和表演性，但也引起了一些问题。我们敢你鉴于 COVID-19 导致的卫生要求。该分析将利益相关者的设计过程和期望与观众的嬉戏性占有进行了对比，这导致利益相关者将安装视为成功和失败。通过代表参观者的使用来评估设计和重新设计，我们认为这种方法可以进一步打开后期制作体验，从而基于用户输入进行持续重新设计——这就是所谓的设计后设计——可以促进博物馆和遗产部门类似体验的设计，支持设计过程中的参与式议程，并帮助解决利益相关者的期望和游客的嬉戏挪用之间的紧张关系。