## 2 Literature Review
### Formulation of Physical Principles  
Detailed investigation on how the attributes of objects work together to create knowledge is still lacking [9]. A gallery does not simply refer to the physical parameters of the place in which objects are displayed but includes consideration of how visitor movement is directed or guided within that space [9]. Placing the function districts and display objects  
Figure 2: The interactive experience model (IEM) (source: adapted from [PERSON] and [PERSON] [21]). in a gallery requires the consideration of visitors' behavior and the properties of objects and space to create and provide a learning environment. The most successful museums match their need to the space(s) available [4]. Visitors' time, energy, and perception limitations, as well as their physical characteristics, create complex circulation patterns arising from these visitors' interactions with exhibition layouts. Visitors often inhabit the space for a short time and roam about freely with the primary purpose of viewing objects within the space [25]. The systematic review of related literature guided by the IEM is a good process to acquire ELP knowledge. Planners can understand visitors' perspectives from personal context, social context, and physical context in museums. ELP concentrates on visitors' behavior and needs, thematic displays, attributions of objects, and containments of space. Consequently, three contexts of IEM can be divided into visitors' behavior, the role of objects, and space layout. There are 30 physical principles and 24 suggestions (Table 4) guiding planners to develop the layout patterns. 1. Principles for visitors' behavior: * Orientation: About 75% of visitors turned right after entering a space [16; 26]. Most people go through directly from the entrance to exit, blocking the view of the exit from the entrance [16]. * Visiting time: Visitors spend less than 20 min in an exhibition gallery [24], stay longer than 6 min, recognized 75-100% of exhibits, but declined after 20 min [27]. The saturation of exhibits is the main factor of museum fatigue [4; 5]. * Visual distance: Best visual distance is twice the diagonal of an object [26], and the minimum size to allow access for two adults with a child is 2.1 m [26; 28]. * Number of visitors: About 80% of the gallery space is used for circulation [4]--roughly 5 m\({}^{2}\) per person in peak times [4]. Suggestions are proposed: Arranging objects from right to left in a gallery should avoid the view of the exit being blocked from the entrance directly. The number of display objects should be limited in a gallery to allow visitors to participate in the whole narrative without missing any displays; 6-20 min is the optimal time for visitors to achieve this. 2. Principles for objects' role: * Function: Objects create space [29]. Objects help visitors to make spatial decisions [23; 25]. * Attributions: About 20% of the gallery is for displays [4]. Large objects catch visitors' attention from different places [23]. Plane or small 3D objects are against the wall [4; 30]. * Arrangement: Organize and display selected objects into a meaningful story [17; 20]. The adjacent approach can serve objects as treasure [9]. * Buffer area: The buffer area between medium-sized three-dimension objects is 8-8.5 m\({}^{2}\)[26]. Distance from the first object to the entrance is 2.5-3.5 m, and the corner area of a turning pathway must have at least 1.5 \(\times\) 1.5 m\({}^{2}\)[28]. Suggestions are proposed: Selecting exhibits can be acquired by heuristic algorithms, there should not be too many ground exhibits, and the distance and buffer area between segmented objects should be well designed. 3. Principles for space layout: * Containment: A building with a 5-6 m headroom; the main access door should not be less than 4 m [4]. The shortest width of the gallery walls is [(2\(\times\) object height \(\times\) 1.6) + 1] m [26]. A gallery's shape should be rectangular, and its spatial use rate is relatively high [16; 19].