**6. Conclusions**

The study aimed to highlight the questions of *What is going to be evaluated* and *How is it going to be evaluated* within the context of cultural heritage evaluation. In this case study of a higher education evaluation, we have explained that both questions can be answered in three words: objectivity through subjectivity. In fact, what was evaluated with the quantitative and qualitative tests was not far from what was studied with the acoustic parameters. Furthermore, the subjective opinions were based on the objective parameters. This built a bridge over the big gap between these two poles, and helped us to understand that no objective parameters can be evaluated without subjective insight. For the cultural evaluation, a scientific basis must be established to achieve reliable results. Nevertheless, a unilateral evaluation that only relies on these scientific data would overlook the valuable opinions of users. What is more, without the user's insight, the analysis would neglect the term "cultural," because no culture is possible without the action of humans, that is, the users. Here, cultural is defined as the opposite of natural, as a synonym of artificial, as something that is evaluated by a human.

However, some limitations of the study need to be addressed in further research. The number of participants in the surveys should be increased, and a pre- and post-test evaluation of satisfaction with the process introduced. Similarly, the immersive experiment should be extended to other outdoor environments (Carrer Santa Llúcia, Plaça de Sant Iu and Plaça del Rei) so that the objective parameters can be compared with the subjective users' opinions.

Further research must also be carried out on the implementation of these representation techniques in the higher education system, especially in Architectural Degree courses, in which spatial understanding is crucial. In this context, it is clear that architecture students should be able to deal with spatial representations that not only cover visual features, but also sonic or even thermic components of architecture. Today's technology has reached such a high level of representation capabilities, that a vague idea of what an environment looks like is no longer acceptable. An architect should manage these tools when they present a new building, and protect existing constructions that are regarded as cultural heritage.
