1. T H E I N T E R N AT I O N A L
JOURNAL
of SOCIAL
Interdisciplinary
SCIENCES
Volume 5, Number 9
Virtual Reality as a Means for Preserving Digital
Heritage: Masjid Jamek
Yan Peng Lim
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3. Virtual Reality as a Means for Preserving Digital
Heritage: Masjid Jamek
Yan Peng Lim, Multimedia University, Selangor, Malaysia
Abstract: In previous decades only small scientific communities were privileged to do address matters
of cultural heritage. Consequently, our cultural and information heritage has been converted into di-
gital forms where the technologies we use to create and enjoy the digital heritage boast many advant-
ages. This is evident from the extraordinarily rapid take up of the technologies in many parts of the
world. With the help of modern information technologies, exposure to the general public becomes a
lot easier. This article presents a study of the use of Virtual Reality as a means of contributing in the
creation of digital heritage preservation. The author takes on the Malaysian government’s programming
in the field of digital preservation of the ‘Masjid Jamek’ or the Jamek Mosque as a case study. In 2009,
The National Heritage Department of Malaysia identified several mosques that had rich and strong
heritage to be presented to the government for the purpose of preserving these religious institutions
Keywords: Virtual Reality, Cultural Heritage, Mosque, Digital Preservation
Introduction
T
HE IMPORTANCE OF digital cultural heritage preservation which was previously
left to only a select few of interested communities have become more common and
wider than ever before in our society. Consequently, much of the world’s cultural
and information heritage has been converted into digital forms and the technologies
used to create and enjoy the digital heritage boast many advantages [1][2]. Beginning in
2000, there was an intense focus expressed by the Malaysian Government calling for libraries
in the country to rally on collaborative efforts with universities and public and private archives
to develop a repository for the nation’s local resources. It is believed that this will help in
enhancing an understanding about Malaysia’s culture by the global community and hence
create “a reference point for the world to access information and knowledge about the
country”[3]. This article presents a study of the use of Virtual Reality as a means of contrib-
uting to the creation of digital heritage preservation in Malaysia. The author takes on the
Malaysian government’s programming in the field of digital preservation of the Masjid
Jamek [4] or Jamek Mosque as a case study.
The adaptation and creation of immersive virtual reality (VR) programs are rising to become
a current trend in museums. The science and the arts are slowly but surely being impacted
by the advancement of new interactive technologies that succeed in captivating the public;
as is the case with virtual reality. From a purely military and scientific research realm, VR
technologies have infiltrated multidisciplinary fields such as design, architecture, education,
entertainment and the arts [5].
This article presents a study on the use of VR as a tool to preserve cultural heritage digitally.
The author has chosen the Malaysian government’s digital preservation programme on
The International Journal of Interdisciplinary Social Sciences
Volume 5, Number 9, 2011, http://www.SocialSciences-Journal.com, ISSN 1833-1882
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4. THE INTERNATIONAL JOURNAL OF INTERDISCIPLINARY SOCIAL SCIENCES
Masjid Jamek (Jamek Mosque) as a case study. In 2009, “The National Heritage Department
of Malaysia identified several mosques with a rich and strong heritage and presented them
to the government for the purpose of preserving these religious institutions”[3]. They intended
to reproduce the shape of the Masjid Jamek mosque and reconstruct the findings in a virtual
reality environment which seeks to instill an appreciation of the mosque’s cultural heritage
and establish a link between the past, present and future [6][7]. The symbolisms and signi-
ficance of a mosque towards a society requires the essence of its Islamic architecture be
protected and the use of virtual reality techniques is the best option [6].
The History of Masjid Jamek
Undergirding the fundamental structure of a Muslim’s community life is the mosque. Ac-
cording to Rasdi [7], “the mosque is the most important building in Islam” and more than
just a place of worship, the functions of a mosque are arguably also as Muslim community
development centre. In light of the [3] news article mentioned above, the Masjid Jamek
mosque was short listed as one of the mosques that retained a strong heritage and historical
value and can be said to be the oldest mosque in the capital city of Malaysia [8]. Located
along Jalan Tun Perak, Masjid Jamek was built at the intersection of the Gombak River and
the Klang River; constructed on “the first Malay burial grounds” in Kuala Lumpur [9].
The term ‘Jamek’ (Jamik) originates from the Arabic language and means ‘a place for
congregation’. It was officially opened by the Sultan of Selangor in 1909, and was the fore-
most mosque until 1965 when the Masjid Negara (National Mosque) was constructed. Its
architecture reflects attributes of North-Indian Islamic influence through its prominent red
bricks and marble structure [8][9]. It has three domes covering the prayer hall and numerous
cupolas and minarets topping its brick walls and arched colonnades. Its central dome is 21.3
m high while the two minarets are both 26.8 m in high each. Built from funds raised by
donation from the Malaysian community and the government, the total cost of construction
was RM 32,625. Commonly known as the Friday mosque, Masjid Jamek receives loads of
people who come for their ritual prayers on Friday [9].
Objective
This article presents two sections with the following aims:
1. to provide some background regarding digital preservation involving cultural preserva-
tion (Digital Heritage) and,
2. to focus on virtual reality (VR) as a tool to preserve Islamic architecture in .
The Importance of Preserving the Masjid Jamek Mosque
The Muslim house of prayer originates from the Arabic word ‘masjid’ which represents a
place of prostration before God. “Hence, it is also referred to as the House of Allah (Bait
Allah), a place where only Allah alone is worshipped and remembered as recorded (in Surah
AlNoor: 36 – the Holy Quran)” [6].
Muslims believe that the Kaabah - located in Makkah Mukarramah, Saudi Arabia - was
the first house ever built on earth by the Prophet Adam (a.s) and thereby represents the House
of Allah. Having then been reinstated by Prophet Ibrahim (a.s) and his son Ismail (a.s),
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5. YAN PENG LIM
Prophet Muhammad (s.a.w) went on to build the Qoba Mosque in Medinah soon after his
Hijrah (migration from Makkah to Madina), signifying the birth of a new Muslim community
there. Since then, the Mosque has been always been a representative of the establishment of
a Muslim community, where the attributes of the Muslim society originate [7].
The mosque is also considered sacred ground in which communion between man and God
is exchanged, and hence the aspects of prayers conducted in a mosque are seen as fundamental
to a Muslim’s life. Dating back to the mosque of the Prophet in Madina – it was made to
function not just as the Prophet’s place of residence, but also as an “education centre, a
courthouse, a military camp, a hospital, a shelter for the homeless and a place of celebration;
” making it then a truly central perspective of the Muslim life [7].
Figure 1: Masjid Jamek, Kuala Lumpur (Nor Alley Zulkafly, 2009)
Digital Heritage
This section will discuss the digital preservation involving cultural preservation (objective
1). The rapid loss of heritage regardless of forms produces a depletion of a heritage of nations
Hence, it is of crucial importance that such resources of information and creative expression
be increasingly being “produced, distributed, accessed and converted into digital forms”, to
create a new sustainable heritage – the digital heritage [1].
Digital Content
Contents formed, generated, used, accessed, shared or preserved in a digital format i.e.
photographs, videos, texts, graphics, sound and internet sites are considered digital contents
[1]. They are stored and made accessible via digital hardware such as computer, television,
radio and also storage devices like CDs, DVDs and other future carriers of information [10].
The digital world of today has drastically changed the way we communicate with each other
and with these changes, there is a need for new forms of delivery models to meet the demands
of interaction between social communities, businesses and also governments [1][11]. Some
Islamic countries such as Malaysia, Turkey and Iran are focusing on the digitization of her-
itage materials in order to preserve their national culture and subsequently position these to
attract a wider audience. These digitization processes of heritage materials through the use
of digital media are primarily to ensure that the material “remains permanently accessible”
[1] and according to [3], it is also to attract more people especially that of the younger gen-
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eration towards an appreciation of national culture and values. The architectural of Masjid
Jamek represents the symbolic of Islamic art through texture and pattern [3]. This is not just
beautiful but irreplaceable of spiritual which can attract younger generation to appreciate
the value and the richness of the culture from past till present. They can refer to the Islamic
architecture in Malaysia.
Digital Preservation
In simple terms, “digital preservation” is the processes used to for maintain information and
all other digital forms of heritage. The purpose of preserving digital materials is to maintain
accessibility: the ability to access their essentials or purpose [1]. However, preserving heritage
through digital means comes with its own set of concerns. Digital materials are not considered
preserved if the means of access are lost and access becomes impossible [1]. Especially,
some of the patterns have the aesthetic and cultural value if not been preserved it may damage
the design of the Masjid Jamek’s building. The building of Masjid Jamek has powerful effect
in enhancing national identity.
Potential Threats in Digital Heritage Preservation
Digital preservation carries with it a risk of being lost to future generations due to the constant
discontinuance of the various hardware and software that gives it life, inconclusive security
in resources, responsibility and approach for maintenance and preservation, and the lack of
supportive legislation. Digital evolution has been too rapid and costly for governments to
develop timely and informed preservation strategies; hence, these threats as identified
[1][2][11] - as part of United Nations Educational, Scientific and Cultural Organization’s
efforts in establishing guidelines for preservation of digital heritage [1] - are increasingly
becoming a concern:
• “The carriers used to store these digital materials are usually unstable and will deteriorate
within a few years or in a decade at the most;
• The use of digital materials depends on its means of access that work in particular ways:
these tools typically become obsolete within a few years and are replaced with new tools
that work differently;
• Materials may be lost in the event of disasters such as fire, flood, equipment failure,
virus or direct attacks disable stored data and operating systems;
• Those charged with responsibilities to care for digital materials may not have adequate
knowledge or facilities;
• There may be insufficient resources available to sustain preservation action over the re-
quired period;
• There may not be time or skills available to respond quickly enough to a sudden and
large change in technology;
• The digital materials may be well protected but so poorly identified and described that
potential users can not find them;
• Critical aspects of functionality, such as formatting of documents or the rules by which
databases operate may not be recognised and may be discarded or damaged in preservation
processing”.
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Another crucial issue is how meaning changes when a work is translated into new delivery
devices. We clearly understand that a reproduction of a work (particularly that of changing
into another format) may convey certain characteristics of that work, but can sometimes be
dramatically different from the original. The faithfulness of cultural reproduction processes
has raised questions about differences between originals and reproductions [12]. Unless
these prevailing threats are addressed, the loss of digital heritage will be rapid and inevitable.
Awareness-raising and advocacy is urgent for any government which aims to protect and
preserve its national culture including that of the Malaysian government; alerting policy
makers and sensitizing the general public to both the potential of digital media and the
practicalities of preservation [3]. Masjid Jamek is one of the six mosques around the city
selected by Government of Malaysia that had rich and strong heritage to present for the
purpose of preserving Islamic art heritage and religious institutions [4]. It needs to apply the
preservation strategies and get rid of all the threats mentioned above.
This section will discuss the digital preservation involving cultural preservation (objective
2). In relation with the second aim, the objectives are [1][3]:
• To describe how digital technology delivers content to its target audience and preserves
cultural heritage.
• To educate the younger generation regarding the historical and symbolic architectural
structure and techniques used during the construction of the ‘Masjid Jamek Mosque’.
• To portray different information as a virtual archive for the mosque.
• To allow readers to learn more about the mosque.
• To allow readers to understand the potential power of virtual reality technology in con-
tributing towards cultural preservation.
Virtual Reality-Preserving Malaysia’s Muslim Heritage through Mosques
Varied methods exist to preserve cultural heritage especially in conservation efforts of most-
valued architecture all around the world such as mosques in Islamic countries. Here, the
author aims to focus on the usage of virtual reality as a medium for cultural heritage digital
preservation within Malaysia [6]
Virtual Reality
Often interacted in a computer simulated environment, virtual-reality is hence capable of
instilling a sense of cultural heritage appreciation through cutting edge technology. It is a
strong means of presentation for a holistic user experience [15]. This article “will lead to
the improvement of the current practice in terms of conservation and heritage management
in Malaysia; documented in digitized form for future reference”. “The expected results will
be a model of Masjid Jamek mosque and its surroundings simulated in a virtual reality envir-
onment that could be interactive”[6].
This attempt could be the first of many more forward steps in assisting our country towards
future preservation of our heritage and cultural values [7][11]. By doing so, the many research
and documentation processes of this project would also contribute greatly to the possible
reconsiderations of what ‘Islamic Architecture’ is in our present day and age, whether factors
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of culture, language and function are great denominating factors towards the definition of
the term [6].
According to [15], “Virtual Reality (VR) technology has already reached the level of
maturity allowing it to be introduced into real-life applications especially in cultural heritage”.
The major breakthrough in Virtual Reality technology lies in the fact that we no longer
merely see 2D images but are able to immerse ourselves into an environment that not only
allows users to view a 3D object but also have the freedom and choice to interact with the
object, making decisions along the way as the physical simulation responds to our actions.
This can take place over the Internet or on platforms programmed under the Virtual Reality
Modeling Language [13][14][15]. All of this simulated environment takes into consideration
realistic renderings and thus requires the application of realistic texturing, collision detection,
walkthrough and audio. It is crucial in accordance to the objective of this article that the
question of methodology in which the government utilizes VR technology to create a virtual
mosque be addressed. Realistic 3D application must be achieved by considering three different
critical aspects which include the choices of appropriate modeling techniques, the preparation
of lighting models and the texture creation process [6][14].
Methodology
There are three phases in the development of a virtual reality project. The first which entails
comprehensive research and analysis of the actual building is required for the next process
of selecting an accurate 3D modeling package, texturing application methods, collision de-
tection, walkthrough and audio. Apart from this, there are two elements to be considered
when developing a 3D model, and they are: creating sub-models by dividing the main
building, and consequently converting these models into VRML [14]. Design and construction
runs primarily in the second phase. During this phase, a lot of related detailed information
and techniques must be taken into consideration by professionals in order to produce a
realistic 3D model of the virtual mosque [14]. This phase is crucial to be completed well as
it will determine whether a model is attractive or not.
Testing and evaluation is reserved for the final phase and is normally done to inspect the
overall believability of the model and make changes to details that do not carry realistic ar-
chitectural views. As suggested by [14], it is good to have 30 selected users to evaluate the
following characteristics:
• Realism
• Navigation
• Pattern of texture
• Collision detection
• Audio
Modeling of the Virtual Mosque
The main software that can be possibly used in developing the virtual mosque model is 3D
Studio Max as it supports conversion of 3D model to VRML format. The 3D model of the
virtual mosque must be developed by applying a geometric model [14] [15].
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9. YAN PENG LIM
Texturizing
Once the modeling of the virtual mosque is completed, texturizing comes into place by im-
plementing appropriate techniques to get a realistic view. Components that need to be textured
are the domes, floors, pillars, ceilings, doors and walls. The texture needs to be applied to
enhance the realism of the virtual mosque. In order to achieve this realism, Texture Transform
Nodes and Texture Coordinates Nodes features that are offered by VRML are applied in 3D
format to the virtual mosque. The Texture Transform nodes will define a 2D transformation
that is applied to texture coordinates. This node affects the way texture coordinates is applied
to the geometric surface. By using this node, simple geometric transformation can be per-
formed such as scale, rotation and translation on texture coordinates [14][15].
Walkthrough and Audio
Walkthrough is a technical methodology which displays building scenes using geometric
objects and enables users to navigate between them. This technique allows the user to exper-
ience a holistic design environment from the interior to the exterior of the mosque, adapted
from [15].
Besides that, an audio of the ‘Azan’- a call to prayer for Muslims indicating that a partic-
ular prayer time is due – can also be included in the virtual mosque in order to provide users
the feeling of ‘being there’ while navigating in the virtual mosque. This manner of audio
will greatly enhance the user experience of the program [6] .
Modeling of Virtual Humans
In keeping with a virtual consistency, it is ideal to have virtual humans. Nonetheless, it is a
challenge to find functional means to create virtual humans to inhabit these virtual spaces.
This task is not one that can be undertaken easily as there are a myriad of complexities that
arises from limitations in technology. In creating virtual humans, one requires a duplicate
of the real; hence it is often a necessity to use motion capture systems (magnetic/optical).
By recording movement, the virtual can simulate the real rather realistically. However, when
it comes to having the virtual human programmed in a way that its responses are instinctive,
it becomes a difficult task. It is generally easy to program or change a virtual human’s single
posture by basically changing its influencing parameters (using Inverse Kinematics). However,
if a thorough motion sequence is needed to change which also has spatial limitations to be
followed, it will prove difficult. This is because spatial contrasts will always be different
from one virtual human to another making it hard to apply a change in motion across a series
of sequence in different virtual models. This is often known as the motion targeting problem
[15].
On the other hand, it is also common to find virtual humans created using algorithm and
computational data. This is because motion synthesis depends on numerical models that give
the body form and structure at specific times. However, algorithm programming is commonly
used for simpler objects such as a ball bouncing and other kinds of dynamics and is rarely
used for structuring a fully functioning virtual human which focuses on complex human
emotions. Regardless, it is still capable of generating good results in some specific cases,
i.e. the synthesis of a walking. To locate such models and create complex motions through
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them is still a major issue. These models can be created for walking, but also for groups and
crowds. Sadly, a general method to model behaviors and actions with flexibility and variety
is still non-existent [14].
Figure 2: Example of Motion Capture Sequence of Prayer Performance [15]
Testing and Evaluation
For the initial stage of testing, a self-navigating journey through the virtual mosque is done
to identify any flaws or non-realistic view of the display. Evaluators are then divided into
two different groups-experienced and inexperienced users. Experience users are users who
have undergone virtual reality courses, while inexperienced users are those whom have
never been exposed to or had any experience in virtual reality applications. They will be in-
structed to navigate through the virtual mosque in order to answer all the questions. It is
important that the navigational designing approach prize convenience as priority for inexper-
ienced users.
Apart from disseminating questionnaires, interview sessions can also be conducted in order
to obtain feedback from the evaluators. A major problem in this section will be for inexper-
ienced users to walk through the virtual mosque and encounter difficulties due to their unfa-
miliarity with the system. Hence, the navigational approach must also be designed conveni-
ently and appropriately [15].
Other Important Concerns
Virtual reality designers must plan to provide virtual agents to guide users while navigating
the virtual mosque. They should also apply other interaction devices for better navigational
purpose such as a tracker. The application ought to include a map to indicate the location of
a user’s current position while they explore the building. All these crucial steps will greatly
contribute towards the overall user experience [15].
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Discussion
The process of defining accurate and precise parameters in cultural heritage and religious
practice requires a fair amount of well-informed knowledge and experience. As such, the
digital preservation process of any heritage can only be complete with the collaborative effort
and contributions of a pool of professionals tied closely to the subject of preservation. Based
on the author’s point of view in relation to the preservation of Masjid Jamek mosque, regard-
less of medium used; a respected and knowledgeable Muslim leader who is able to define
the subject in a clear and well formatted method is needed.
Future Work
As cultural meaning tends to also grow within a certain geographical boundary, elements
that make up the local context ought to also be considered paramount towards any fact
finding or research. Virtual reality has much potential to carry the weight of digital preser-
vation in terms of cultural heritage and with initiatives like that carried out by the National
Heritage Department, there is hope in successfully preserving the priceless historical treasures
of the land albeit slowly. Virtual reality as means for preserving digital heritage not for
Masjid Jamek only, but implement for the rest of beautiful building in Malaysia and allow
to view and accessible globally.
References
1. Webb, C. Guidelines for the preservation of digital heritage. Prepared by the National
Library of Australia. Information Society Division. United Nations Educational, Sci-
entific and Cultural Organization (2003). Accessed: www.unesco.org/webworld/mdm.
2. Cunliffe, Hon David and Tizard Hon Judith. Creating A Digital New Zealand: New
Zealand’s Digital Content Strategy (2007).
3. Manaf, A. Z. Establishing the national digital cultural heritage repository in Malaysia
Emerald Group Publishing Limited: Library Review. 57(7), 537-548 (2008).
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(2009). Accessed: .
5. Gaitatzes, Anthanasios. Christopoulos, Dimitrios. Roussou, Maria. Reviving the past:
Cultural Heritage meets Virtual Reality. Association for Computing Machinery, Inc.
103-110 (2002).
6. Sharif, H.M. and Hazumi, H. Reconstruction of the Earliest Mosque in using Virtual
Reality Technique. Digital Culture and Heritage. Haus der Kulture ICHIM 04. Welt,
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7. Rasdi, Mohamad Tajuddin Haji Mohamad. The Mosque as a Community Development
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11. Dobreva, M. And Ikonomov, N.: Digital Perservation and Access to Cultural and Sci-
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(2003).
About the Author
Dr. Yan Peng Lim
Yan Peng Lim is currently a lecturer in the Faculty of Creative Multimedia at the Multimedia
University.
128

13. EDITORS
Mary Kalantzis, University of Illinois, Urbana-Champaign, USA.
Bill Cope, University of Illinois, Urbana-Champaign, USA.
EDITORIAL ADVISORY BOARD
Patrick Baert, Cambridge University, Cambridge, UK.
Norma Burgess, Syracuse University, Syracuse, USA.
Bill Cope, University of Illinois, Urbana-Champaign, USA.
Peter Harvey, University of Adelaide, Adelaide, Australia.
Vangelis Intzidis, University of the Aegean, Rhodes, Greece.
Paul James, RMIT University, Melbourne, Australia.
Mary Kalantzis, University of Illinois, Urbana-Champaign, USA.
Gerassimos Kouzelis, University of Athens, Athens, Greece.
Massimo Leone, University of Turin, Turin, Italy.
Alexandros-Andreas Kyrtsis, University of Athens, Athens, Greece.
José Luis Ortega Martín, Universidad de Granada, Granada, Spain.
Bertha Ochieng, University of Bradford, Bradford, UK.
Francisco Fernandez Palomares, Universidad de Granada, Granada, Spain.
Miguel A. Pereyra, Universidad de Granada, Granada, Spain.
Constantine D. Skordoulis, University of Athens, Athens, Greece.
Chad Turnbull, ESADE Business School, Barcelona, Spain.
Chryssi Vitsilakis-Soroniatis, University of the Aegean, Rhodes, Greece.
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