the impact of using mixed reality technology to design movement circulation in the ancient egyptian...

The Impact of using Mixed Reality Technology to Design Movement Circulation in the

Ancient Egyptain Art Museums. 1

The Impact of using Mixed Reality Technology to Design Movement Circulation in the Ancient Egyptian Art Museums.

Asmaa AbdElgawad Elsebae Ola Mohamed Samir Ismail Instructor Instructor Department of interior design Department of interior design and furniture and furniture Faculty of Applied Arts Faculty of Applied Arts Helwan University - Egypt Helwan University - Egypt

Abstract : This paper will discuss the impact of using Mixed Reality Technology to design movement circulation in ancient Egyptian museums . Therefore , we will start by briefly the definition of circulation , furthermore we will discuss the points always need to be considered when planning circulation spaces .After that .we will talk about the museums design ,then the applying of virtual reality to museum exhibits . then we will discuss the broader concept of mixed reality as environments in which real world Reality .Then we will bring up two samples of an ancient Egyptian museums and their disadvantages which affect the circulation paths of them . Over there we will focus on the majority of using mixed reality and virtual world objects are presented together within a single display . After that we will present a real experience of using Mixed in ancient Egyptian museum design . Finally , we will conclude with several applications of using mixed reality to display systems that can be used at that type of museums and how it will affect the design of the circulation paths especially those around the antiques.

1- Introduction No doubt that the ancient Egyptian monuments are characterized by enrichment and diversification as it represents all aspects of life.

The ancient Egyptian was keen to keep all his possessions inside his grave as he believed in the idea of life after death.

Because the old Egyptian monuments vary from one monument to another, the way of presenting it in the museums vary significantly according to the overall vision of the intended scene.

By the introduction of the mixed reality technology in the ancient Egyptian museums, the way of observing the monument will differ, in which the viewer will live with the monument in a virtual reality for a few seconds that will take him to the ancient atmosphere. Accordingly, the experiment, in addition to the type of helping tool the viewer will use to live in the mixed reality, will affect the movement pathway around the monument . But what do we mean by the term “ circulation “ ?



The answer is the first thing we will begin with .

Circulation :

This word refers not only to the rotes that allow people to get from one place to another but also to the actual use of such routes . the circulation space performs two roles : it allows movement between relatively remote areas , and at the same time , it helps in defining them .it should not merely locate different parts of a builiding and allow people to reach them . but it should act as a social space as well .

The following points always need to be considered when planning circulation

spaces:

1-How people walk; they are not always in a hurry to get from A to B. Sometimes they saunter or stroll; often they are not alone but in pairs or small groups; or they may even promenade, walking so as enjoy walking and to be seen enjoying walking . 2-People can meet in two ways: they may arrange to meet at a well-defined place at a specific time; or they may encounter each other accidentally and then look for somewhere to continue that encounter more comfortably .

3-Not everyone can walk.

The spaces themselves are capable of infinite variation so as to provide an altogether richer experience. . (Michael Stuart,1990 p55)

* - The large building-like museum which houses a variety of activities that naturally form small clusters - requires two categories of circulation :

1- withen the clusters .

2-between the clusters.

Very broadly ,circulation withen the clusters can be regarded as private and that between the clustersas public. (Michael Stuart,1990 )

In this paper we will focus on the movement circulation around the exhibited antiques especially in the ancient Egyptian museums . But before that it is important to discuss the museum design .

The museum design :

A museum is constantly looking for different ways to attract visitors, but what happens once they get there? Often they suffer from three main problems — they can’t find a specific piece of information, they must leave too soon because they are bored or they stay a long time but miss key lessons from the main exhibits.

Obviously, visitor accessibility and attention are paramount, but that’s not all it takes to design for a great museum experience.

The following are 10 ingredients for successful museum exhibit design:



1. Motivate Visitors: Target an audience — the general public and/or specific communities

2. Focus Content: Filter content so visitors are not bombarded with information overload

3. Immersion: Engage visitors within a “story”

4. Modularity: Present smaller themes instead of one larger complex topic

5. Skim ability: Information should be easy to take in because visitors are often standing and/or have different levels of education

6. Patterns: Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing framework patterns (architectural elements)

7. Capture Curiosity: Use storytelling techniques to engage visitors

8. Interaction: Give visitors a “fun” experience by tapping into their emotion

9. Integrate Technology: Technology should enhance visitor’s experience, not detract from it .

10. Layer Content: Present information in a hierarchical manner ( Carliner, Saul )

BEYOND THE MUSEUM EXPERIENCE

The latter design secrets apply to more than just museum experiences. Each taps into some common problems that many other architectural building-types face. As a designer, you should “move” your occupants “physically, intellectually and emotionally”.

By taking a closer look at museum exhibit design — you will see such designers are able to tap into the senses as they choreograph different elements like narrative and interaction to spark visitor curiosity. As architectural technology progresses toward more dynamic and interactive solutions, you will have even more ways to give your occupants a “complete” experience. The 10 tips listed above are a good place to start.

Museum Design and Circulation:

A museum adds cultural and social value to communities. Exhibitions in a museum present knowledge through represented themes of art, history, science and technology, natural history, and music, among other fields. These themes are introduced to visitors through narratives structured in exhibition layouts with spatial arrays of display objects. An exhibition layout may show the intentions of a curator in presenting narratives in a



particular viewing sequence, which implies a path visitors are expected to follow. A visitor's contact and engagement with objects in the museum occur along the path. Museum circulation and galleries also provide an environment for social encounters, introducing an aspect of museum visits as collective social experiences. The manner in which museum architecture and the layout of the exhibitions constrain visitor circulation may determine visitors' patterns of interaction with display objects. Therefore, the way in which circulation constraints are structured is the central question(Ipek Kaynar )

Movement patterns in open plan museums: visibility?

Bill Hillier argues that \buildings are fundamentally about movement and how it is generated and controlled" (Hillier, 1996). Open plan museums provide an opportunity to investigate the effect of spatial layout on movement patterns, since visitor movement involves both circulation through spaces and stopping at particular display objects. Physical boundaries connect or separate spaces, and reflect `structures' in a building program. Thus, the “disposition and arrangement of boundaries" structure permeability in space and organize accessibility patterns in a building configuration (Peponis et. al. 1997). However, in open plan museums, physical boundaries are less prominent. The question that arises is the role of visibility in modulating visitor movement. First-time visitors tend to explore museum space to get an overall orientation to the space and to enjoy certain exhibit elements. The visual continuity in an open plan museum provides access to environmental information at a glance. Thus, it is proposed that this exploratory movement is influenced by visual access to environmental information. A recently published study notes that “(T)he greater the limitations upon movement, the more movement patterns are distributed according to the layout" (Peponis et al., 2003). In open plan exhibitions, this observation prompts other questions: what are the critical aspects of visibility that motivate movement patterns to be more distributed? Which measures of visibility affect visitors' preferences? In fact, visibility in a building space, a three dimensional physical environment, is a more elusive variable than accessibility. Therefore, it is still an open problem as to whether visibility can be measured and strategically planned in open plan museums in order to motivate visitors' engagement within exhibitions.

Applying Virtual Reality to Museum Exhibits

Museums are great places for learning. In a museum children and adults alike can immerse themselves in distant places or learn how scientific discoveries are made. Museums can also reveal a cultural past, present or future. All in all, museums are great places to learn – especially as new technology helps designers to improve museum exhibit design.

Museum exhibits are getting evermore technologically advanced and virtual reality is one of the latest trends. Of course, virtual reality can be impressive, interactive or both.



Museum visitors are able to make choices during their virtual travel enabling them to feel a sense of exploration – triggering curiosity and the desire to learn

Most virtual reality exhibits cater to both the visual and aural senses. Such exhibits can be quite awe inspiring as visualizations are getting increasingly detailed. By using both head-worn and hand-held devices, visitors are able to interact with the simulation in a variety of new ways. However, the problem arises when designers try to meet the varied needs of a multitude of visitors.

Unfortunately, because museums attract a large number of diverse visitors, the technological components are not “one-size-fits-all”. Thus, stereo glasses are often clunky – especially for children to use ( figure 1 ) . Another common issue with virtual reality exhibits is that many visitors tend to develop motion sickness. To prevent this, “good sight lines, ample seating, comfortable viewing for extended periods, good field of view and ergonomics” all contribute to positive impressive learning experiences.( Roussou, Maria )

Museum exhibits that incorporate virtual reality really can better a visitor’s experience. The ability to simulate experiences opens exhibit design up to so many creative solutions – it remains up to designers to comfortably and innovatively apply virtual reality

1.2 Mixed reality :

Mixed Reality encompasses all these fields of Reality - Physical Reality, Augmented Reality, augmented virtuality, Virtual Reality - that surround us today with the mergence of computers and digital means. It refers to spaces, which consist of physical and virtual elements that interact with one on other, where a certain type of Reality is experienced when we enter them. It deeply affects various fields, from sociology to informatics, and from art to architecture. Although it refers to quite new technologies, the basis of Mixed Reality theory has already begun being investigated thousand of years ago, through philosophy and mathematics .(www.architecturemixedreality.com ) A Mixed Reality (MR) experience is one where the user is placed in an interactive setting that is either real with virtual asset augmentation, or virtual with real world augmentation. ( Charles.E Hughes , et al 2004) So , MR is similar to Virtual Reality (VR) technology except that it can merge interactive 3DCG-3 dimensional computer graphics- with the real world. In other words, although the majority of VR contents are made from only computer graphics, MR contents are made from computer graphics in the real world. ( Komodo.T..et al-2007)

CLASSIFICATION OF MIXED REALITY SPACES

Figure 1 : The stereo

glasses .



Categorization of spaces where physical and virtual elements interact with one another can have many alternatives. They can be classified based on various criteria depending on the point of view we study them .

the way we experience a certain, additional equipment could be used, additional equipment needed), see My_MR_Lab, Virtual Reality Gloves .

the way we enter the space, i.e. physically, virtually, constantly shifting between physical and virtual way, hybrid ways of our being partly physical and partly virtual present.

the structure of the system, i.e. a single physical/virtual space, many physical/virtual spaces from where visitors have access at one common physical/virtual space. A common virtual space enabling users in geographically distributed (physical) sites to collaborate in real time as if they were in the same physical room, is called Tele-immersion .

context discontinuity a Mixed Reality space has: its elements, having been separated to physical and virtual, do not make sense, are irrelevent

context continuity a Mixed Reality space has: its elements, having been separated to physical and virtual, do make sense, are relevent e.t.c. but when considered/experienced together a different point of view is granted to us . .(www.architecturemixedreality.com )

MIXED REALITY PRESENCE

Our presence in Mixed Reality spaces can as well span the Physical Reality - Virtual Reality continuum. Therefore, except for the extreme cases of our being physically present in a physical space (in everyday life) or in a virtual space (in Augmented Virtuality), we can as well present in hybrid ways. These hybrid ways of having access to Mixed Reality spaces have been developed from the beginning due to the nature of such spaces. A Mixed Reality space which we enter just physically or virtually, appears rather bizarre. .(www.architecturemixedreality.com )

THE MUSEUM OF THE FUTURE

The benefits of using MR at museums:

New interactive and multimedia technologies represent a very powerful communication tool for museums today, allowing them to compete with other popular venues of

entertainment like cinema or theater in attracting a wide audience. In mounting exhibitions, the new technologies offer three types of innovation.

First: through augmented reality — produced by the use of computers, projectors and wearable computers — the museum can display (virtually) many more works than its exhibition space would otherwise permit. Second: thanks to digital video/audio and to 3D modeling and animation software, new technologies can help the works come to life by giving them the ability to speak directly to the visitor. Third: Through the joint use of



interactivity and instruments for analyzing how people move around the exhibition rooms, the museum can transform visitors from mere explorers of artwork in active orchestrators of the very experience at hand.

The museum becomes more effective in getting the exhibition's educational message across. It makes a deeper and more lasting emotional impression on the visitor while fostering a fuller comprehension of the works on display. Thus the new technologies turn the museum's rooms into body-driven interactive multimedia narrative spaces. Synchronized projections on museum walls and on the private eye of wearable computers, audiovisual or 3D animation of various exhibition materials all join with the playful spirit of exploration made possible by interactive technologies to spark in the visitor a sense of wonder, curiosity, genuine interest in the objects on show. Unlike early museums — called Wunderkammer or “room of wonders” — holding collections of items destined to awe the viewer, today's museums can take advantage of new technologies to create a sense of wonder not solely through the objects but, all the more so, through the tools used to display them. Paradoxically, for the sophisticated 21st century audience already amply bombarded by information, what sparks greater interest, emotion, surprise is the new means of communication, which in turn predisposes it for the playful learning experience at hand. Lastly, the museum space enhanced by these new narrative tools based on innovative( figure 2 )

technologies resembles a stage set where the main characters are the objects themselves — a set complete with special effects and stage tricks expressly designed to delight the spectator, and keep his interest alive.. ( Flavia Sparacino-2004)

mixed reality systems can successfully support museum experiences that are rich in terms of both information access and sociability.

Figure 2 : Overall layout of the “Puccini Set Designer”

exhibit where using mixed reality technology .



We have been conducting an experiment with mixed reality technology in a museum in order to enhance visitors' experience in looking at the exhibits.

The complexity of cultural heritage related information is also apparent in the case of museums and other cultural heritage institutions where the visitor often needs to be aware of social, political, cultural, historical, economic or scientific related aspects in order to better approach and appreciate the exposed object.

MR technology can be used not only for museum guides but also for hands-on experience.( figure 3 )

The MR display systems:

There are several MR display systems used at museumes for example :

1- The Mixed Reality Window : which is a tracked flat screen monitor that can be reoriented to provide differing points-of-view

2-The Mixed Reality Dome.

Both the MR Window and Dome require an added navigation interface (e.g., control buttons and/or a mouse) . The Window is more flexible than the dome, in that it can be physically reoriented, but it lacks the convenient audience view and the sense of immersion (both visual and auditory) of the Dome.

3-. HMD( head mounted display)which is more flexible, allowing the user to walk around an MR setting, even staring virtual 3d characters in the eye, it is more costly and creates far more problems (hygiene, breakage, physical discomfort) than the MR Window or Dome. (Charles E.Hugues ,Eileen Smith- et al-2004)

Figure 3: Augmenting the real world with digital overlays

Figure 4. Visitor exploring the exhibit with the museum wearable



4- The handheld PC with a camera . Additional information, can be displayed on the screen, and an audio guide can be played from the handheld PC.

5- CAVE. The operator enters into a 3m cube, and by using stereoscopic vision, can have the experience of being in the actual place.

6- Using tracking technology in which an animated image can follow a person’s head or hand. In such a tracking method, there are a magnetic position sensors, gyroscopes, etc., to calculate position and inclination by recognizing the images of the two-dimensional markers in the real world – image recognition etc. ( Komodo ,Tet al – 2007). The new technologies turn the museum's rooms into a body-driven interactive multimedia narrative spaces. Synchronized projections on museum walls and on the private eye of wearable computers, audiovisual or 3D animation of various exhibition materials all join with the playful spirit of exploration made possible by interactive technologies to spark in the visitor a sense of wonder, curiosity, genuine interest in the objects on show.

7-The Wearable computer which is an interactive enhanced-reality device for museum use. Interactively and progressively in space and time, it generates an audiovisual documentary as a function of the visitor’s interests. What determine the wearer’s profile of interests are, first, the path he follows in the museum and, secondly, how long he stops in front of the works on show. The wearable consists in a lightweight computer the size of a walkman put in a shoulder-bag or a pouch.It uses a private eye, or small monitor a SVGA- resolution clipped onto special earphones. This private eye presents to the user a visual effect that is the union of two distinct images: the computer generated one and the image of real physical space seen by his free eye. This is possible because the human brain spontaneously merges the fields of vision of right and left eyes in one unique whole.

8-The impressive cinema: it takes up an entire room of the museum. It consists in an animated interactive carpet of light covering much of the floor and in a large vertical projection occupying the full expanse of a wall. This interactive space is devoted entirely to ancient eguptian world: it aims to take visitors back in time. (Flavia Sparacino-2004)

9- The interactive documentary presentation table

The interactive table presents a series of interviews, images, texts and explanations illustrating the exhibition’s more theoretical, historical, philosophical aspects. A multimedia complement to the printed catalog, it introduces the themes of the exhibition and in some cases treats the subject matter in depth. Projected on the table top is an animated interactive visual map, listing the topics visitors can explore. There is also a physical object acting as a

cursor on the table. By moving it on key points of the map visitors can select Figure 5 : The interactive

documentary presentation table.



animations and video clips which they then see come on the vertical screen in front.

Before we will talk about using mixed reality technology in the ancient Egyptian museums and how it will affect the circulation movement paths , it is better to present two examples of these museums in Egypt .the first one is the Egyptian museum , the second one is the grand Egyptian museum .

The Egyptian museum :

The Egyptian Museum, in Cairo, Egypt is home to an extensive collection of ancient egyptian antiquities. It has 120,000 items, with a representative amount on display, the remainder in storerooms.

The museum's Royal Mummy Room, containing 27 royal mummies from pharaonic times, was closed on the orders of President Anwar Sadat in 1981. It was reopened, with a slightly curtailed display of New Kingdom kings and queens in 1985. Today there are about 9 mummies displayed. One of them is the newly discovered mummy of Queen HThere are two main floors of the museum, the ground floor and the first floor. On the ground floor there is an extensive collection of papyrus and coins used in the Ancient world. The numerous pieces of papyrus are generally small fragments, due to their decay over the past two millennia. Several languages are found on these pieces, including Greek, Latin, Arabic, and the Ancient Egyptian writing language of hieroglyphs. The coins found on this floor are made of many different elements, including gold, silver, and bronze. The coins are not only Egyptian, but also Greek, Roman, and Islamic, which has helped historians research the history of Ancient Egyptian trade. Also on the ground floor are artifacts from the New Kingdom, the time period between 1550 BC. These artifacts are generally larger than items created in earlier centuries. Those items include statues, tables, and coffins. On the first floor there are artifacts from the final two dynasties of Ancient Egypt, including items from the tombs of the Pharaohs Thutmosis III, Thutmosis IV, Amenophis II, Hatshepsut, and Maherpen, and also many artifacts taken from the Valley of the Kings ( www.en.wikipedia.org)



Figure 6 : the ground floor plan of the ancient museum and examples of the rooms at this floor .



The grand Egyptian museum :

The Grand Egyptian Museum (GEM) also known as the Giza Museum will be built by 2013 at the cost of $US 550M. The museum will be sited on 50 hectares of land in giza and is part of a new master plan for the plateau. . The museum site is two kilometers from the giza pyramids .The design of the building was decided by means of an architectural competition .The competition was announced on the January 7, 2002. The organisers received 1557 entries from 82 countries, making it the largest architectural

Figure 7 : the upper floor plan of the ancient museum and examples of the rooms at this floor .



competition in history. The competition was won by the company Heneghan Pen from ireland .

The building is shaped like a chamfered triangle in plan. It sits on a site two kilometers west of the pyramids, near a motorway interchange. The building's north and south walls line up directly with theGreat Pyramid of Khufu and the Pyramid of Menkaure. In front of the building is a large plaza, filled with date plants. One of the main features of the Museum is the translucent stone wall, made of alabaster, that makes up the front facade of the building. Inside the main entrance is a large atrium, where large statues will be exhibited.

New Museum is designed to use most and latest technology systems including Virtual Reality. In other side, the Museum will be international center of museums communications in order to be able to direct contact with other local and international museums. The Grand Egyptian Museum will include also, a children museum, conference center, training center, and workshops similar to the old Pharaonic places. ( www.en.wikipedia.org)

Figure 8 : a museum that takes the entire landscape as a gallery area to trace the ancient history of Egypt .

Figure 9 : the large atrium of the museum where large statues will be

exhibited .



Interior design and movement circulation in the grand Egyptian museum :

1- The design team of the museum have a special philosophy for supply , they have tours and visits to all museums and temples and archaeological sites in Egypt and came out a general view of what form it could be supply , use from the presentation of the ancient Egyptian for display in the museum.

2- The changing included the circulation movement , stairs and corridors of the interior and ways to put the status and artifacts and philosophy of the impact and importance the Egyptian ancient .in addition to to use of the same color tone that characterized the art of the ancient Egyptian , which be designed on the walls of the temples and statues and monuments in the Egyptian ancient .

3- The methods of display in the museum implemented for the first time for the museum , to be followed by a sequence of historical stages , as well as various topics at the same time easily .

Figure 10 : some types of displays where we notice that the circulation movement paths is traditional because of the traditional ways of presentation .



4- Grand Egyptian museum , the new facility will be sealed from outdoor elements – a precaution the deterioration of the ancient objects .

5- The building designed to allows natural light to enter the building , reducing to need artificial lighting that can damaged the items .

6- The museum campus will offer a learning center for children , a 1.000seat conference center , an Imax theatre and some six different parks and gardens for displaying ancient Egyptian agriculture .A planned “school of museum logy “ will acts as a training center for aspiring museum curators , conservationists and administrators .( www.ericowenmoss.com/index.php?/projects)

2.3 Factors affecting the design of the movement circulation in the ancient Egyptian

museums while using the mixed reality technology:

2.31-Type of the monument and its size:

The ancient Egyptian monuments vary in size for example temples, pillars, furniture, mummy, jewellery, clothes…etc. each of them is shown in a different way:

-Statues and pillars are placed on the ground in a big space with high ceiling suitable for its size.

-Furniture, stuffs and military cars are placed over a show stand in an open space.

-Clothes and papyrus most probably are placed in a glass box fixed on the wall.

-Mummy are placed in closed rooms .

2.32-The viewer's wish:

The decision that the viewer takes to see the monument is the factor that determines the movement circulation that he will take, because some of the viewers would like to see the monument as is and others would want to see the monument through the mixed reality.

2.33-The type of experiment presented in the mixed reality:

The type of experiment determines the type of space in which the monument should be placed in either open or closed space accordingly determines the movement circulation the viewer follows to see the monument in the mixed reality.

2.34-The type of helping tool used in the mixed reality experiments.( authors )

2.4-How these factors affect the movement circulation paths around the monument:

We discussed several MR display systems and factors and we see that every one of them has its impact upon movement circulation which the viewer should follow, and also they determine the type of space the monument should be put in , either open or closed. We will discuss now how these factors affect the movement circulation around the monument.



2.41-Example 1:

The monument with a large size like the pillars and statues we suggest two ways to view this monument in the mixed reality:

2.411- First way:

Using wearable computer to see the monument in its place in the temple. In this case the movement pathway around the monument takes the circular way with gradual increase in its height and the movement circulation of the mixed reality viewers are assigned alternatively with the movement pathways of the normal viewers( figure no.1 ).

Figure 11. the movement circulation path plan where using wearable computer.

There area several paths with several heights . the green color refers to the paths for

traditional visitor , the yellow color refers to the paths for MR technology users.

2.412-Second way:

Using Mixed reality window. In this case the viewer will be in a closed space as a hanged room is made in a level suitable to the level of the monument and the side of the room facing the monument is an electronic data show window.( figure no. 12 )



Figure12. Using MR Window. Left the plan . right the elevation.

2.42 -Example 2:

The monument size is commensurable to the human being size like the mid size statues, furniture,…etc. In this case there are 2 types of movement circulations.

The first for the normal viewers and the second for the mixed reality viewers.

The movement circulation depends on the nature of the monument and the type of tool to see the mixed reality.

-For example for the monument with the same shape from its sides, there are 2 linear movement pathways on the 2 sides of the monument. And several types of show tools could be used for example Hand Head PC with camera to see the monument in its original condition especially if part of the monument is broken or its original colors are fade or the use of HMD to see the monument in its original world or the use of wearable computer( figure no.3).

Figure 13 . The movement circulation path around a mounement with the same

shape from its sides . left , the plan of the liner path . right, the elevation .

-For the symmetrical monument the movement pathways around it each one of them takes the shape of the right angle and we use the same mentioned tools for the mixed reality like the previous example( figure no. 14 ).



Figure 14 . The movement circulation path around a symmetrical mounement . left

, the plan of the right angles path . right, the elevation . -For the asymmetrical monument the movement circulations take a shape which surrounds the monument from all its sides. In this case, the 2 pathways should be in different levels to enable each viewer to see the monument and we use all the tools previously discussed.( figure no.15 )

Figure 15 . The movement circulation path around an asymmetrical monument .

left , the plan of the paths . right, the elevation .

2.43 - Example 3:

The way of showing the mummy:It is presented in closed rooms and we can use more than one way to present the mummy in the mixed reality.( authors)

2.431 - First way:

The use of the CAVE way, which the mummy is put in its coffin in the middle of the room, and the walls ceiling and the floor of the room are turned by using of the stereoscopic vision into the real shape of the grave in which the mummy is discovered. In this case only the mixed reality viewer is allowed to enter the room and there will be one movement circulation surrounding the monument from all its sides. 2.432 - Second way:



Turning the room into Body driven interactive Multimedia Narrative space that the mummy and all the tools of mummification used are put in the room so the viewer can know the mummification steps and the information related to it. In this way we find that the movement circulation which the viewer takes determines the information he can get. And another room (Immersive Cinema) could be attchated to this room which allows the viewer to have a chance to know additional information about the mummy through the movement circulation the viewer takes over the animated interactive carpet of light which covers most of the room floor( figure no. 6 ).( authors)

Figure 16 . The ways of showing the mummy : above left : The use of the CAVE

way. Above right : Turning the room into Body driven interactive Multimedia

Narrative space. Down :the Immersive Cinema room with electronic carpet .

And so there are several ideas by which the ancient Egyptian monuments could be presented by using the technology of mixed reality and the subsequent effect on the movement circulation the viewer use to walk around the monument to observe it.



3 - Conclusion

In this paper, we have given an example of the impact of using MR technology upon the movement circulation paths at the ancient Egyptian art museums. First, we refer to the meaning of the word “circulation“ and the two categories of circulation at museum building . We also presented shading light upon MR experience. Secondly, we reported on the benefits of using mixed reality technology in the ancient Egyptian museums. Finally, we examined the factors affecting the design of the movement circulation paths in the ancient Egyptian museums while using the MR technology, and we observed its impact on the design of these paths. In conclusion, we propose possible and practical suggestions that may change current Egyptian museum display systems by using MR technology which re-forms the movement circulation paths around the monuments. We propose two types of movement circulation paths: the first one is dedicated to the traditional visitor and the second is for visitors who wish to use the MR technology to see the monument. We claim that the form and direction of the movement circulation path is affected by a variety of factors, most importantly, the nature of the monument and its size andshape. In the end, and because of the change in the design of movement circulation paths, this will affect the overall design of the museum, the number of the exhibits should be inconsiderable and the distribution of the exhibits in the Museum plan should be allowed a greater space than normal circumstances between each piece and the other to allow using the two types of paths. We also recommend increasing the number of closed areas in order to use the interactive MR display systems.

References

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