NAME ALI NAJIB

REG NO: 12M2604

INSTITUTE: UNIVERSITI BRUNEI DARUSSALAM

FACULTY: SCIENCE

TASK: PROJECT REPORT (background information and literature

survey)

DATE OF SUBMISSION: 23rd

.08.2012

TABLE OF CONTENTS

CHAPTER ONE

1.0 Introduction ………………………………………………………………………………………………………………………………………1

1.0 History of Brunei.....................................................................................................................................1

1.1 Kampong Ayer……………………………………………………………………………………………………………………………………2

2.0 Background to the study……………………………………………………………………………………………………………………4

2.1 Malay Technology Museum……………………………………………..................................................................5

2.2 Traditional Technology at malay Technology Museum….................................................................... 5

2.2.1-14 The Different technologies used……………………………………………………………………………………………5-12

2.3Literature Review..................................................................................................................................13

References .......................................................... …………………………………………………………………………17

CHAPTER ONE

Introduction

1.0 History of Brunei

Brunei officially the Nation of Brunei, the Abode of Peace (Malay: Negara Brunei Darussalam,

is a sovereign state located on the north coast of the island of Borneo, in Southeast Asia.it is

surrounded by the state of Sarawak, Malaysia, and it is separated into two parts by the Sarawak

district of Limbang. It is the only sovereign state completely on the island of Borneo, with the

remainder of the island belonging to Malaysia and Indonesia. Brunei's population was 401,890 in

July 2011.

The official national history claims that Brunei can trace its beginnings to the 7th century, when

it was a subject state of the Srivijayan empire. It later became a vassal state of Majapahit empire

before converting to Islam in the 15th century. At the peak of its empire, the sultanate had

control that extended over the coastal regions of modern-day Sarawakand Sabah, the Sulu

archipelago, and the islands off the northwest tip of Borneo. The thalassocracy was visited

by Ferdinand Magellan in 1521 and fought the Castille War in 1578 against Spain. Its empire

began to decline with the forced ceding of Sarawak to James Brooke and the ceding of Sabah to

the British North Borneo Chartered Company. After the loss of Limbang, Brunei finally became

a British protectorate in 1888, receiving a resident in 1906. In the years after the

Japanese wartime occupation during World War II, it formalised a constitution and fought

an armed rebellion. Brunei regained its independence from the United Kingdom on 1 January

1984. Economic growth during the 1970s and 1990s, averaging 56% from 1999 to 2008, has

transformed Brunei Darussalam into a newly industrialized country.

Brunei has the second highest Human Development Index among the South East Asia nations

after Singapore, and is classified as a developed country. According to the International

Monetary Fund (IMF), Brunei is ranked 5th in the world by gross domestic product per capita

at purchasing power parity.

1.1 Kampong Ayer (Water Village)

Kampong Ayer, or the Water Village (Malay: Kampong Ayer) is an area of Brunei's capital

city Banda Seri Begawan that is situated after the Brunei Bay. 39,000 people live in the Water

Village. This represents roughly ten percent of the nation's total population. All of the Water

Village buildings are constructed on stilts above the Brunei River.

People have lived in Kampong Ayer for over 1300 years. According to geography professor

Abdul Aziz of the Universiti Brunei Darussalam, this is the largest and most famous water

settlement of Southeast Asia. "It was historically the very core of Brunei and one of the most

important centres of trade in Borneo.

The Water Village is really made up of small villages linked together by more than 29,140

meters of foot-bridges, consisting of over 4200 structures including homes, mosques, restaurants,

shops, schools, and a hospital. 36 kilometers of boardwalks connect the buildings. Private water

taxis provide rapid transit. Most of these taxis resemble long wooden speed boats. From a

distance the water village looks like a slum. It actually enjoys modern amenities including air

conditioning, satellite television, Internet access, plumbing, and electricity. Some of the residents

keep potted plants and chickens.

The district has a unique architectural heritage of wooden homes with ornate interiors. The

villages in Water Village are Mukim Sungai Kedayan including Bukit Salat, Sumbiling Lama,

Sungai Kedayan 'A', Sungai Kedayan 'B', Ujong Tanjong and Kuala Peminyak; Mukim Tamoi

including Tamoi Ujong, Tamoi Tengah, Pengiran Kerma Indera Lama, Pengiran Tajuddin

Hitam, Ujong Bukit/Limbongan, Pengiran Bendahara Lama; Mukim Burong Pingai Ayer

including Burong Pingai Ayer, Lurong Dalam, Pandai Besi 'A', Pandai Besi 'B', Sungai Pandan

'A', Sungai Pandan 'B', and Pengiran Setia Negara, Pekan Lama; Mukim Peramu including

Peramu, Pekilong Muara, Bakut Pengiran Siraja Muda ' A', Bakut Pengiran Siraja Muda 'B',

Bakut Berumput and Lurong Sikuna; Mukim Saba including Saba Tengah, Saba Ujong, Saba

Laut, Saba Darat 'A' and Saba Darat 'B'. Mukim Sungai Kebun including Setia 'A', Sungai

Siamas/Ujong Klinik, Setia 'B' Sungai Kebun, Bolkiah 'A' and Bolkiah 'B'.

It is no surprising that most of the people who stayed at kampong Ayer formed the basis or

foundation of Brunei due to the traditions they had and some being practiced up to the present.

The people here developed most of the technologies ie the Traditional technology like Kris- the

Malay’s weapon and among others.

2.0 Background to the study

Traditional technology at malay technology museum

Traditional technology at malay technology museum ie the digital museum which is the action

taken by museums to change the traditional ways of how to preserve, manage, market and

display of products by using modern technologies like computer which can be accessible all over

the world with no interference or sometimes physical visit to the museum.

The continuing acceleration in the digitization of information, combined with the increasing

capacity of digital information storage, is causing the traditional model of museums (i.e. as static

“collections of collections” of three-dimensional specimens and artifacts) to expand to include

virtual exhibits and high-resolution images of their collections for perusal, study, and exploration

from any place with Internet connectivity..

2.1 Malay Technology Museum

Malay technology museum is located next to the Brunei Museum at Kota Batu, 7 km from

Bandar Seri Begawan. The Malay Technology Museum is a rich tapestry of early Brunei

history and culture. it was deemed as a dedicated national museum to fill a "gap" in Brunei

Darussalam's cultural landscape. The building of the museum, designed specifically to

showcase the traditional lifestyle of Brunei's local communities from the 1880s to 1950s, is

a step towards bridging understanding between the old and new generation in appreciating

the country's history.

The museum is among the nation's custodian in keeping, restoring, recording and exhibiting

various traditional techniques and systems practiced by the country's forefathers. In

particular, it is a museum that will showcase the early lifestyles of Bruneians living in the

rural areas and Kampong Ayer as seen through their collection of everyday tools, gadgets

and gears.

The idea for the museum was first mooted in 1982 by the Royal Dutch Shell Group that was

considering a suitable endowment to His Majesty's government and the people of Brunei

Darussalam. The museum was to be the company's mark of appreciation for the long and

prosperous relationship it had with the country as well as to commemorate the nation's

resumption of full independence from Britain. Once the proposed design and layout of the

building was approved, construction began in 1985, and the museum was completed in

November 1986.

It comprises two blocks. The three-storey building houses two exhibition halls and a foyer

while the two-storey block contains an exhibition hall on its upper floor and administrative

offices and stores on the ground floor. The architect firm, Ho Kwong Yew and Sons,

designed the museum; while Fong Leong Contractor Limited built it.

The Malay Technology Museum was officially handed over to His Majesty's government on

December, 2, 1986, during which His Majesty Sultan Haji Hassanal Bolkiah Mu'izzaddin

Waddaulah, Sultan and Yang Di-Pertuan of Brunei Darussalam, consented to accept a

bronze key in a symbolic presentation from Keith MacKrell, a representative of the Royal

Dutch Shell Group. His Majesty then proceeded to officially declare the museum open on

February 29, 1988.

There are three galleries in the museum: "Traditional Houses of Kampong Ayer",

"Traditional Technology of Kampong Ayer" and "Traditional Technology of Interior

Communities".

The gallery of the "Traditional Houses of Kampong Ayer" displays models of traditional

houses in the water villages built in the late 19th to mid-20th centuries. There are six

houses, each with its own architectural style, design, and construction materials, namely

rumah belah bubung (single ridged-roofed house), rumah beloteng (house with attic),

rumah atap tungkup (house with a pyramid shaped roof), a house with walls made of

beaten bamboo and nipah leaves, and another made of sawn timber planks and iron wood.

Local handicrafts and cottage industries found in Kampong Ayer at the turn of the 20th

century are exhibited at the Traditional Technologies of Kampong Ayer Gallery. Visitors will

get an insight into various traditional industries such as boat making, gold-smithing, brass-

casting, silver-smithing, cloth-weaving, and fishing crafts and traps. Early traditional fishing

methods displayed here includes the lintau (fish traps), tugu (fishing net) and bintur (crab

trap).

While the Malay Technology Museum may be a rich tapestry of the nation's early history

and culture, it nonetheless goes beyond this to help put its people in touch with their past,

build community spirit, foster an interest in where they came from and the things that are

important to them.

The traditional technology here in Malay technology museum reflects those technologies

used in the old days and led to existence of many tools and weapons which others still in

existence now in brunei and they include the following boats, kris (malay’s unique weaon),

basket weaving, brasswork, dish cover, silver work, cloth making, cap making, silver craft

and others.

Black smithing

Black smithing was the oldest traditional crafts in the water villages of kampong Ayer where

constrant supply of weapons and cutting tools was important for defence and every day uses.

The village that was traditionally known for their skills in black smithing was kampong pandai,

besi (village if black smith) neighbouring the kampong bakut (pengiran), siraja muda formerly

known as kampong pamariuk (village of port makers). This village was the main supplier of

weaponarry and iron tools for traditional Brunei sultanate in the past. Tradtitional Brunei

warriors of prominent ranks were also customarily recruited or selected from this village. Some

of the smithing products

The above shows the formation of Black smithing

Gold smithing

Gold smithing was a very popular traditional cottage industry in water villages of Kampong Ayer

in the past that constantly demanded by members of the royal families and aristocrats. Arrays of

beautiful gold accessories were produced by skilled malay artisans namely bracelets, neckless,

anklets, rings, bronches, earings and traditional regalia

The pictures above shows examples of gold smithing

Silver smithing

Silver smithing was one of the highly regarded traditional crafts in the water villages of

Kampong Ayer for their intricate designs and quality of craftsmanship. Some of the silver

products include cupu manggis (mango steen shaped jewellery box) Pasigupan (smoking pipe),

Kiap (fan) Kaskul (bowl with lid)

The decorative design are inspired from ideas copied from local plants and flowers which

flattered according to the artistic skills and imagination of the silver smith. The most commonly

used motive for decorating silver ware products was a pattern called Bunga which signifies the

life of people in the water village

The pictures above shows the process of making the silver smithing

Lintau (Fish trap)

Lintau is a fish trap made of split bamboo. It is divided into two compartments i.e. the pengalok

and ayangan. A wall fish like structure that are made of split bamboo to lure fishes swim towords

a small circular bamboo enclosure called benuan. The lintau is made of vertical structure and

thus enabling fish to swim towords the circular bunuan.

Boat making

Boat remains important means of transport in kampong Ayer and skill of boat making is still

preserved through the royal until today. Most of the popular types of boats are the Perahu

Tamang or water taxi such as those in kampong setia A and B. it takes one week of full time to

build a water taxi with two workers. The wood or planks used to build the boat have to be dried

in the sun for atleast one month before beginning to make sure that they will not shrink.

The plank that are connected to the lunas or the keel of the boats are called tunggul. The water

taxi boat is was made In stages ie the first being construction of the lunas or keel. The second

stage is the construction of giak. The third stage is the construction of dabal. After those three

stages are over the next step is construction of the hull or the plank. Finally the finishing touches

are put on the boat. Other types of boats are perahu pelauk used for communication or water

transport and is made from wooden planks which is about 20 cm wide and 2cm thick.

Others are Perahu Lumba or racing boat, War boats etc

The above pictures shows the formation of boats

Cloth weaving

Weaving is a cottage industry originated in kampong sungai kedauani. initially served only the

privileged circle but later diffused to the masses and knowledge was passed to other villages e.g

kompang sungai kedauan, kompang bukit salat etc

Weaving was usually done by women working laboriously on the handloom known as petenunan

to produce intricate design made from super thread. Design was also used together with local

flowers and plants which were transformed into geometrical forms of various attractive

patterns.Woven cloth was usually worn during royal ceremonies, official day, state function.

Even in to up today the situation remain the same

The pictures above demonstrates the process of cloth making

Balat-making

Balat is a fish trap made of slashed bamboo splits and is normally set up like a “fence”

In shallow water in the river. A type of bamboo locally known as buluh balai having strong

resistance to water was used in the making of balat.

The people of kampong saba were renewed of their fishing activities using balat-trap and thus

they were famously known as kampong palatal (the village of balat experts)

A shed called balai kabatan is erected infront of a fisherman’s house for balat ie making it to go

through several stages which include bamboo splitting, immersing bamboo splits in water,

whittling and finally braiding the bamboo strips into a balat using rattan

The above image illustrates the formation of Balat-making

Brass casting

The village that was renowned for their skills in brass-casting was Kampong ujong Bukit.

Kampong ujong ukit was the main producer of brass products that include Sulang (brass

container), Gatang (measuring container) and lanjang (cooking port)

The above shows the formation of bras casting

Traditional roof making

Thatched roof of traditional brunei malays house was made from Nipah fonds (leaves) and

Fruitcans where they used the Nipah leaves to make the roof for the house. Roof making was

normally done by women while the task of gathering the nipah leaves was done by men. This

type of roof making is no longer in existence.

The pictures above shows the process of roof making.

Tugu

Tugu is a fishing trap used only only in swift flowing water, normally located near the mouth of

ariver leading to the sea. It is made from jarring (nets) attached to two wooden column and

divided into parts ie the front section, middle section, inflated section and the end section. As

seen

below

Tudung Dulang (Dish cover

It is called tudung dulang or dish cover, it is a food prevent flies and other pests from

penetrating in to food. It was started by house wives as a hobby to pass time while their husbands

went to respective work like fishing, trading and farming. It rooted into villages namely

Sengkurong and Tanjong nangkai. Dish cover planting originated from the kampong ayer (water

village)

Its made from leaves of the pandan plants which came in many species. The process of plaiting

begins with the removal of the thorns from supple (green leaves) to male them soft, the leaves

are bundled up, boiled and taken out to dry over night, they are then cut using sharp knives and

boiled again, the wheat is turned off and strips are left in the cold room for two days before

being taken out to dry, after will be taken to dry until becomes whitish, then the strips are tied up

into smaller bundles and immersed indyes of different colors.

Kris (the malay’s unique weapon)

The kris was in former time the favourite weapons of royalty and commoners alike. It was the

malay’s art of self defence. It became popular during the Majapahit Empire in the thirteen

century and later at the Malaccan royal court.

The krises were also the weapons of the famous Bruneian warrior Bendahara Sakam and his men

when they drove off the Spanish invaders from the century in 1578. An expert in making Kris is

known as Pandaibesi.

The process of making kris involves a piece of metal repeatedly heated and hammered until is

flat, the next steps involve shapenning , filling and polishing at the same time hilt is to be filtered

and impurities removed from blade

Durong

Durong is a special hut for storing padi after harvest. It is built near the house to enable the household

to get a constant supply of rice. Rice is stored here to avoid pests i.e. mice. Dinar is fixed on all four posts

to prevent mice from getting into the durong. The notched ‘ goat ladder ‘ (tangga kambing), which is

always kept under the durong, is only put up when there is a need to get into the durong.

2.3 LITERATURE SURVEY

The purpose of this literature review is to identify the scholarly issues that have been discussed

in the domain of Digital Museum in relation to the traditional technology at malay museum

technology

According to George explained in the book titled Look for creativity and touching feelings

from famous paintings in the National Palace Museum—a new brain for an old museum, Taiwan

Business Publishing, 2009). indicated that the value of a digital museum is to extend and support

multiple functions of the conventional museum in exhibitions, scientific education, and academic

study, through the establishment of digital contents of infinite imagination, creation, and

communication, which is in no way limited by time or space. He defined the nature of

digitalization, in terms of digital museums, as “The effects of exhibitions, collections, education,

and research of museum functions can be presented to visitors by means of digitalization, in a

digital museum.” Museums must effectively proceed with the systematic digitalization of their

collections, exhibitions, research works, and educational presentations by establishing a detailed

database. After digitalization, professionals in fields of exhibitions, research, and educational

promotions can edit the data to provide multimedia presentations, which are displayed on the

Internet, and accessed at the user’s convenience, without regard for time or space limitations.

Users can browse a website in an interactive manner, viewing digital multimedia presentations of

important works of the museum, thus, achieving the ultimate goal of global exposure.

Shiode and Kanoshima (1999)also define the idea of a “virtual museum” as an electronic

reproduction of a museum that contains artifacts for public viewing, and has the same spatial feel

as an actual museum. Virtual museums allow individuals to traverse a visual representation of

the museum without having to leave their home. They act as a portal for users who may not have

physical access to the museum, such as disabled users. Virtual museums also serve as way

finding tools, permitting users to plan, which in turn focuses and expedites their visits.The

internet offers opportunities for broadening and deepening people’s engagement with cultural

content, making it possible to: access culture, learn more about cultural content, directly

experience cultural content, share that content with others, and create their own content (MTM

London, 2010). Research shows around half of the online population used the internet to engage

with the cultural sector in 2009/10, most commonly to look for information about exhibitions

and events and to buy tickets,

with a significant minority using the internet to consume, share and create cultural content.

Evidence suggests that for the sector as a whole the main opportunity for digital technology is to

enrich and deepen engagement, rather than to draw in people who are not currently engaged.

However, for individual institutions there certainly is the opportunity to reach people who are

engaging in culture in some ways but who have not accessed a particular institution before – for

example, someone who visits museums in York but would only access a collection in London via

the internet. Research suggests that over half of those with a general interest in museums would

also be interested in a virtual tour, and over two thirds would be interested in learning more

online about an exhibition or object.

According to Rachel Smithies on the book titled A review of Research and literature ondigital

museums and libraries he stated It is widely commented in the literature that the museum and

public library sectors could improve their financial sustainability, through routes such as

diversifying funding sources and adjusting business models (Fresh Minds, 2008; Wilkinson,

2005; Renaissance Review Advisory Group, 2009; MLA, 2009; DCMS, 2010b, Rowley, 2011).

Reductions in public spending make this issue more pressing. There is evidence that the sectors

are not confident about performing well in terms of financial sustainability, but are aware of the

issues and receptive to making improvements (Fresh Minds, 2008). The literature focuses on two

main aspects of financial sustainability: the shape of an organization’s finances, including the

diversity of funding sources; and its broader business model, particularly whether alternative

delivery models or governance arrangements could improve effectiveness and efficiency

(Stanziola, 2011).There are some distinct patterns in current funding and business models in the

museum and library sectors (Stanziola, 2011). Public libraries have very low levels of funding

diversification and relativelyhigh levels of alternative business models such as procurement

partnerships across library authorities, which over 80 per cent of library authorities have, and co-

location with other services, which over 60 per cent do (DCMS, 2009). They are unlikely to have

tried more extreme changes to their business model, such as having commercial subsidiaries or

independent trusts. Most museums fall into one of two broad types. The first group, often local

authority run museums, is fairly heavily reliant on public funding. While to some degree they try

alternative business models such as co-location and partnerships for procurement, they are

unlikely to have attempted more substantial changes.

One relevant body of literature on the digitization of cultural heritage stems from the field

Cultural Economics, which can be traced back to the work of Baumol and Bowen (1966). More

recently, Hutter and Rizzo (1997) present an introduction to the field; Throsby (1994) and Blaug

(2001) offer literature surveys on the field of cultural economics. Shortly after Baumol and

Bowen (1966) had introduced Cultural Economics, Peacock (1969), Montias (1973), and

Peacock and Godfrey (1974) dealt with Museums Economics. More generally oriented

monographs on Museum Economics (e.g., Frey & Pommerehne 1989; Heilbrun & Gray 2001;

Throsby 2001; Weil 2002) were complemented with more specific works. For instance, Robbins

(1994) and Johnson and Thomas (1998) concentrate on political issues in the context of museum

economics and develop suggestions for economic research. Other authors (e.g., Robbins 1971;

Frey 1994, O'Hagan 1995, Steiner 1997; Bailey & Falconer 1998) mainly discuss entrance fees

for public museums in particular. Schuster (1998) focuses on hybrid forms between public and

private museums, while Meier and Frey (2003) recently have examined the case of private art

museums. Museum Economics are to be distinguished from sociological approaches (e.g.,

Williams 1982), anthropological approaches (e.g., Keesing 1958) or art historic approaches (e.g.,

Fowler 2003) of studying cultural heritage. Illustrations of the struggles between the three

disciplines can be found in Feldstein (1991), Grampp (1989), and Grampp (1996).

According to Sugimoto (2001) there had been many international collaborative activities for

digital museum initiative purposes and digital libraries were inherently international (Griffin,

1998) and became far more important nationally and internationally in 2003 than they were in

1996 and many new and significant digital museum initiatives had emerged (Chen and Zhou,

2005). Even with little funding, a large international digital library had emerged, grown and

improved (Fox, et al. 2004; Fox, et al. 2005).

National libraries of G7 countries had collaboratively created the Bibliotheca Universal, thus

establishing a global e-library system and the national libraries of 35Belgium, the Czech

Republic, the Netherlands, Portugal, Spain and Switzerland had since joined the project (Raitt,

2000). European national libraries‟ IMESH (http://wwwukoln.ac.uk/matedata/imesh-toolkit/)

was another international collaboration on Internet subject gateways. UNESCO‟s Memory of

the World (http://www.unesco.org/webworld/mdm/en/index_mdm.html) was one of the

many successful digital initiatives (Hughes, 2004) and by 2003 some 68 projects from 40

countries were included in the Memory of the World Register (Tedd and Large, 2005).

Together with International Federation of Library Association, it had also commissioned a

Survey on Preservation and Digitization (www.ifla.org/VI/2/p1/miscel.htm). The World Bank

had established its e-Library service in 2003 (http://www.worldbank.org/elibrary) making the

full text of its reports, documents and books available online (Tedd and Large, 2005). The

European Union too had taken several steps at promoting digital library initiatives at European

level with many projects such as CANDLE, CECUP, DEBORA,DECOMATEII (Collier,2004),

DIEPER‟s, EULER, NEDLIB, DIGICULT and MIRACLE (Liu, 2005). CASPAR was another European

Union integrated project with cooperation from UNESCO, University of Leeds, University of

Glasgow and International Business Machine (Giaretta, 2006). Klijn and de Lusenet (2000)

discussed many European libraries that were embarking on the digitization of photographs and

the European Commission on Preservation and Access had set up the SEPIA(Safeguarding

European Photographic Images for Access) Project, which was funded by the European Union

to investigate ways of safeguarding photographic collections (www.know.ul/wcpa/sepia/).

However the European Commission‟s most ambitious digital library initiative under the EU‟s

i2010 36strategy, aimed to make over the next 5 years, 6 million resources accessible through

the European Digital Library web portal (Dempsey, 2006). This figure could be much higher as

by 2010, potentially every library, archive and museum in Europe would be able to link to its

digital contents to the European Digital Library infrastructure and the projects list showed that

they were working on 24 projects (i2010: Digital libraries, 2006). As reiterated by Forster

(2006), European Commission‟s efforts and cooperation between Europe‟s national libraries

in 2006, would see digitized objects increasing from 2 million in 2008 to 6 million in 2010.

Another European Commission‟s funded project, COINE

(Cultural Objects in Networked Environments) was completed in 2005 allowing the ordinary

citizen to create, share and use cultural materials among communities (Butters, Hulme and

Brophy, 2007).

In response to the European Commission‟s Digital Library Initiative, Conference of European

National Librarians submitted a proposal under the eContentplus Programfor the inclusion of

all national libraries of the European Union into the European Digital Library Project. By 2007

the collections of the national libraries from Belgium, Greece, Iceland, Ireland, Spain, Sweden

and Norway were integrated into the European Digital Library, a one-stop shop for Europe's

cultural heritage (Dunning, 2007). In 2000 six of the world‟s biggest learning and cultural

institutions launched the fathom.com (http://www.fathom.com/) a global joint venture

between the British Library, British Museum, Cambridge University Press, London School of

Economics, Smithsonian Institute, Columbia University, University of Chicago and New York

Public Library (Lesk, 2004). The philosophy behind fathom.com was that what‟s free in the real

world would be free in virtual world. Even though Fathom website ceased operations in

37March 2003, but the concept of a digital library and universal access continued through

Fathom archive that was available at Columbia University (www.columbia.edu) and from the

members of the Fathom consortium at their own websites.Computer companies too were

taking similar steps. Hewlett-Packard Digital Library was launched in 1992, thus expanding

services for the 126,000 HP employees in more than 150 countries. Compaq Computer

Corporation‟s Digital Library WebLibraryhad created a collection of more than 1.2 million fully

indexed online documents and successfully fulfilled the mission of a digital library that managed

information throughout an organization and had increased the usage and accessibility of

information via one stop center (Pack, 2000). The extent of digitization of world treasures

with the ultimate aim to be shared globally was one of the main reasons of the digital

museum initiatives done by many international organizations as manifested above.

Subsequently in 1996, Keio University,

((http://www.bnf.fr/pages/zNavigat/fraem/version_anglaise.htm?ancre=english.htm)

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