As the guardian of the nation’s cultural assets, the museum sector in Malaysia was caught unprepared when it experienced a 70 percent dip in the attendance of visitors during the pandemic due to its inability to capitalize on technology and reach out to local and international visitors. A key policy goal for every nation is to ensure that their rich cultural treasures are preserved for future generations to enjoy and be inspired by. In this regard, the virtualization of digitalized cultural assets has the potential to make heritage experienced in a new and unique way. Thus, the study’s primary objective is to assess the technology readiness level in Malaysian museums in adopting digital heritage technologies. However, this paper explicitly discusses the challenges and methods of virtualization in museums by reviewing available literature and case studies of museums with interactive technology to understand the current technology state of museums in Malaysia. Consequently, working terminologies related to digital heritage adoption by museums will be elaborated to define the scope and limitations of such studies. Most museums identified with Augmented Reality applications in Malaysia are still in an early stage of virtual technology adoption. Only Borneo Cultural Museum has embraced 30% interactive exhibition. Thus, this paper suggests that an in-depth study needs to be conducted to survey the digital readiness of museums in Malaysia.

This paper discusses the physical deterioration of the two traditional Malay textile Songkets preserved by the Department of Museums Malaysia. The identification of material and degradation were investigated by using visual observation and scientific analysis. The visual observation was carried out to analyse the physical appearance by examining the characteristics, colour visualization, and the degree of deterioration of the textiles with the aid of a handheld optical digital microscope to capture the tangible characteristics and damages on the artefacts. Scientific analysis was carried out by using the FTIR instrument to determine the materials of two traditional Malay textile Songkets. The selections were controlled by the colour selection, type, form, style, and the material of the artefacts. The results show that both artefacts were made from silk and experienced physical deterioration. However, the degree of degradation was even more pronounced for Case Study 2 (CS2) although the material is the same. Furthermore, a distinct poor condition could be seen in Case Study 2 (CS2) in comparison to the condition of Case Study 1 (CS1). Keywords: malay songket textile artefact; visual analysis; degradation factors; material identification eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3769

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Kelarai is defined as checkered weave patterns, a craft work that has been passed down from generation to generation in Malay culture and people in the Southeast Asia. Since its beginning, the arrangement of simple pattern has now grown to many unique kelarai designs where different making techniques or weaving technique are applied for each kelarai. Kelarai is utilised in a variety of products, from everyday items like mats and food covers to decorative elements seen in traditional architecture like walls and windows. People today can still recognize the art of kelarai in daily basis products. However, only few that have seen or even know the use of kelarai in traditional architecture. With only few kelarai craftsmen and evidence of kelarai architecture left, the art of kelarai wall is also in risk to be vanished. Therefore, the aim of this study is to document the varieties of kelarai in traditional architecture, the methods of making kelarai from kelarai craftsmen, and to identify the techniques used in kelarai wall of traditional architecture. An interview and participatory observation are conducted with kelarai craftsman to collect data. Site visit to case studies locations, visual documentation and analysis through online search are conducted to learn more about the remaining traces of kelarai architecture. The study is significant in the kelarai architecture area that are diminishing due to lack of written documentation and awareness. The study will also contribute to the urgency of preserving the remaining kelarai architecture which are gradually deteriorating and awaiting demolition.

A key policy goal for every nation is to ensure that their rich cultural treasures are preserved for future generations to enjoy and be inspired by. In this regard, the virtualization of digitalized cultural assets has the potential to make heritage experienced in a new and unique way. However, as the guardian of the nation’s cultural assets, the museum sector in Malaysia was caught unprepared when it experienced a 70 percent dip in the attendance of visitors during the pandemic due to its inability to capitalize on technology and reach out to local and international visitors. Thus, the study’s primary objective is to assess the technology readiness level in Malaysian museums in adopting virtual heritage technologies. However, this paper explicitly discusses the challenges and methods of virtualization in museums by reviewing available literature and case studies of museums with interactive technology to understand the current technology state of museums in Malaysia. Consequently, working terminologies related to virtual heritage adoption by museums will be elaborated to define the scope and limitations of such studies. Most museums identified with Augmented Reality applications in Malaysia are still in an early stage of virtual technology adoption. Only Borneo Cultural Museum has embraced 30% interactive exhibition. Thus, this paper suggests that an in-depth study needs to be conducted to survey the technology readiness of museums in Malaysia.