Indoor environment has a potential impact on health by influencing behaviors, actions, and interactions of patients and their families as well as the health providers. The motto of health professionals since Hippocrates “First, do no harm” seems to be not widely followed in recent times. Unhealthy buildings can cause a lot of illnesses to occupants. Sick building syndrome (SBS) is a poorly understood phenomenon where people have a range of symptoms related to a certain building and there is no specific identifiable cause. The effect of poor indoor environmental quality (IEQ) is not only on physical health of the building occupants, but also on their psychological health. Through extensive review, the paper addresses different factors, which affect both physical and psychological health of occupants in healing environments. These factors are divided into two main categories; (a) spatial factors, which include the architecture design of the space, views of nature and nature images, indoor plants and landscaping, wayfinding and orientation of the space, pleasant color scheme, the presence of coordinated art objects, furniture layout, and video and virtual reality environments; and (b) environmental factors include air quality and freshness, availability of daylight, thermal comfort, and acoustic quality. Since hospitals are profoundly different from other types of buildings, the study focused on integrating the aforementioned factors toward an optimal healing environment for children in a state pediatric hospital in Assiut city, which has potential impacts on occupant satisfaction and wellbeing. Based on a comprehensive literature review, the paper also summarizes both negative and positive factors, which provide a point of departure for further investigation and exploration within the field of IEQ in healing environments.

Cultural heritage is neither static nor stable. There is a need to explore ways for effectively communicating with cultural heritage to tourists and society at large, in an age of immediacy, a time of multiple realities and to multi-cultural tourists. It is vital to consider cultural heritage as a creative and relational process where places and communities are constantly remade through creative performance. The paper introduces virtual technologies as an approach to attain effective communication with cultural heritage. This approach emphasizes the importance of “user, content and context” in guiding the production of virtual heritage, as opposed to technology being the sole motivator. It addresses how these three issues in virtual heritage need to be transformed from merely representing quantitative data towards cultural information using the proposed effective communication triangle through representing meaningful relationships between cultural heritage elements, users and context. The paper offers a focused articulation of a proposed computational platform of “interactive, personalized and contextual-based navigation” with Egyptian heritage monuments as a one step forward towards achieving effective communication with Egyptian cultural heritage.

Cultural heritage is neither static nor stable. There is a need to explore ways for effectively communicating with cultural heritage to tourists and society at large, in an age of immediacy, a time of multiple realities and to multi-cultural tourists. It is vital to consider cultural heritage as a creative and relational process where places and communities are constantly remade through creative performance. The paper introduces virtual technologies as an approach to attain effective communication with cultural heritage. This approach emphasizes the importance of “user, content and context” in guiding the production of virtual heritage, as opposed to technology being the sole motivator. It addresses how these three issues in virtual heritage need to be transformed from merely representing quantitative data towards cultural information using the proposed effective communication triangle through representing meaningful relationships between cultural heritage elements, users and context. The paper offers a focused articulation of a proposed computational platform of “interactive, personalized and contextual-based navigation” with Egyptian heritage monuments as a one step forward towards achieving effective communication with Egyptian cultural heritage.

The World Health Organization estimated in 2014 that 285 million people worldwide are visually impaired: 39 million are blind and 246 million have low vision. Islam is a universal religion; achieving equality is one of its most important values. Islam is a faith community in which everybody interacts with everybody else. The Holy Quraan mentioned the disabled as part of our life, discussed their rights and urged to take care of them in more than one place. Therefore, everyone has a responsibility to contribute to the best of their ability. In order to achieve equality for blind people, a suitable environment should be offered to them to facilitate their mobility in public spaces and holy spaces like Mosques. Mobility and orientation are very challenging for blind or visually impaired persons. Difficulties in wayfinding may cause stress and anxiety, which may discourage them to visit unknown places. Therefore, blind Muslims have the right to navigate inside mosques without any direct help, providing essential information for them, such as Qibla direction, ablution places and other facilities. Several mobile applications have been developed to help blind or visually impaired people to find their ways in large spatial environments, yet religious environments require such applications to help B/VI people navigate inside mosques without direct help. Most of these applications depend mainly on GPS. However, it is argued that GPS is inadequate for indoor localization due to the loss of GPS signal indoors. Accordingly, this paper introduces an indoor positioning system, relying on Bluetooth devices.

Physical heritage objects and assets are related to a vast amount of digital information of different kinds, which are challenging to be communicated to visitors in understandable and engaging ways. Yet recent technological advances promise new opportunities to more tightly merge the digital with the physical world. This paper therefore introduces the concept of “phygital heritage”, the integration of digital technology ‘into’ physical reality, as a potential medium for more enriched and playful communication of heritage values and qualities. We propose that phygital heritage should enable the exploitation of typical advantages of both digital and physical reality, and that distinct categories of phygital can be recognized based on: 1) the level of physical affordance; and 2) in how far the technology is integrated into the physical reality. The paper also opens the discussion about the potential challenges and concerns which future explorations, scientific research and real-world applications of phygital heritage probably will encounter.

Physical heritage objects and assets are related to a vast amount of digital information of different kinds, which are challenging to be communicated to visitors in understandable and engaging ways. Yet recent technological advances promise new opportunities to more tightly merge the digital with the physical world. This paper therefore introduces the concept of “phygital heritage”, the integration of digital technology ‘into’ physical reality, as a potential medium for more enriched and playful communication of heritage values and qualities. We propose that phygital heritage should enable the exploitation of typical advantages of both digital and physical reality, and that distinct categories of phygital can be recognized based on: 1) the level of physical affordance; and 2) in how far the technology is integrated into the physical reality. The paper also opens the discussion about the potential challenges and concerns which future explorations, scientific research and real-world applications of phygital heritage probably will encounter.

Built heritage objects possess multiple types of information, varying from simple, factual aspects to more complex qualitative information and values, such as the architectural qualities, the construction techniques, or symbolic meanings of monuments. This qualitative information is relatively difficult to communicate using the conventional ways like museum labels or audio guides. Nonetheless, tangible interaction is a promising paradigm for communicating tacit information, its qualities have been demonstrated in a wide range of applications in different realms. Therefore, this study investigates how tangible interaction can enable the communication of qualitative information of built heritage to lay visitors. The main objectives of this study are communicating tacit and architectural qualities of built heritage in a physical form, investigating the effect of tangible interaction on social interaction among heritage visitors, and enhancing visitors' in-situ experience of built heritage or 1:1 replicas. Our early findings indicate the capability of tangible interaction for engaging museum visitors to accomplish additional endeavors, and facilitating their understanding of cultural values and architectural qualities of built heritage.

Built heritage objects possess multiple types of information, varying from simple, factual aspects to more complex qualitative information and values, such as the architectural qualities, the construction techniques, or symbolic meanings of monuments. This qualitative information is relatively difficult to communicate using the conventional ways like museum labels or audio guides. Nonetheless, tangible interaction is a promising paradigm for communicating tacit information, its qualities have been demonstrated in a wide range of applications in different realms. Therefore, this study investigates how tangible interaction can enable the communication of qualitative information of built heritage to lay visitors. The main objectives of this study are communicating tacit and architectural qualities of built heritage in a physical form, investigating the effect of tangible interaction on social interaction among heritage visitors, and enhancing visitors' in-situ experience of built heritage or 1:1 replicas. Our early findings indicate the capability of tangible interaction for engaging museum visitors to accomplish additional endeavors, and facilitating their understanding of cultural values and architectural qualities of built heritage.

Communication is one of the primary functions of museums and heritage environments. Museum artefacts possess vast amounts of information, which has to be communicated to the general public. This information ranges from explicit knowledge which is easy to document and to convey (e.g. names, dates, numbers, etc.), to more qualitative information and tacit knowledge which is more challenging to document, to measure and to communicate. However, the latter is more valuable because it provides context, experiences, practices, and competences. For communicating this type of information, museums apply different methods, ranging from oral narrative, to more embedded interactive technologies for storytelling such as virtual and augmented reality applications. Nevertheless, museums recently began to design and deploy Tangible User Interfaces (TUIs) in order to physicalize the experience with museum objects. For instance, tangible smart replicas have been used in museum exhibitions to provide an additional layer (narrative content) of story-telling on top of explicit information presented on text labels next to the original objects. Also, anecdotal evidence shows that the touch and manipulation affordances of TUIs in interactive exhibits tend to attract more visitors, even persuade them to explore further and deeper. According to the museum communication model of Hooper-Greenhill, we consider that tangible interaction approach is as a promising communication medium for enabling museum visitors to turn from passive receivers to active users by interpreting their experiences according to a set of individual and social factors. This paper therefore introduces the concept of “Phygital Museum Experience” (PhyMEx), the integration of digital technology ‘into’ physical reality, as a potential medium for more enriched and playful communication of heritage values and qualities. We propose that PhyMEx should enable the exploitation of typical advantages of both digital and physical reality, and that distinct categories of phygital can be recognized based on: 1) the level of physical affordance; and 2) in how far the technology is integrated into the physical reality. We argue also that this approach has several objectives; (a) it makes the museum experience more collaborative and enhances social interaction, (b) it actively engages young museum visitors by allowing them physically explore the museum collections, and (c) it stimulates subtle learning experiences by communicating heritage information during interactions and experimentations. The paper offers a proposed approach of PhyMEx as a one step forward towards achieving an effective communication with heritage museums’ collections in the Gulf. The future implementation and application of the proposed approach will be tested by museum visitors at selected Gulf museums. The findings, analysis and required refinements of this approach will be reported accordingly.

Communication is one of the primary functions of museums and heritage environments. Museum artefacts possess vast amounts of information, which has to be communicated to the general public. This information ranges from explicit knowledge which is easy to document and to convey (e.g. names, dates, numbers, etc.), to more qualitative information and tacit knowledge which is more challenging to document, to measure and to communicate. However, the latter is more valuable because it provides context, experiences, practices, and competences. For communicating this type of information, museums apply different methods, ranging from oral narrative, to more embedded interactive technologies for storytelling such as virtual and augmented reality applications. Nevertheless, museums recently began to design and deploy Tangible User Interfaces (TUIs) in order to physicalize the experience with museum objects. For instance, tangible smart replicas have been used in museum exhibitions to provide an additional layer (narrative content) of story-telling on top of explicit information presented on text labels next to the original objects. Also, anecdotal evidence shows that the touch and manipulation affordances of TUIs in interactive exhibits tend to attract more visitors, even persuade them to explore further and deeper. According to the museum communication model of Hooper-Greenhill, we consider that tangible interaction approach is as a promising communication medium for enabling museum visitors to turn from passive receivers to active users by interpreting their experiences according to a set of individual and social factors. This paper therefore introduces the concept of “Phygital Museum Experience” (PhyMEx), the integration of digital technology ‘into’ physical reality, as a potential medium for more enriched and playful communication of heritage values and qualities. We propose that PhyMEx should enable the exploitation of typical advantages of both digital and physical reality, and that distinct categories of phygital can be recognized based on: 1) the level of physical affordance; and 2) in how far the technology is integrated into the physical reality. We argue also that this approach has several objectives; (a) it makes the museum experience more collaborative and enhances social interaction, (b) it actively engages young museum visitors by allowing them physically explore the museum collections, and (c) it stimulates subtle learning experiences by communicating heritage information during interactions and experimentations. The paper offers a proposed approach of PhyMEx as a one step forward towards achieving an effective communication with heritage museums’ collections in the Gulf. The future implementation and application of the proposed approach will be tested by museum visitors at selected Gulf museums. The findings, analysis and required refinements of this approach will be reported accordingly.