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iddle classes. The carefully tuned details of the inward-looking gallery interior-wooden floors (mostly polished), minimal surfaces, single blocks of color (predominantly shades of white, or lately, black)and shadow gaps, are now endlessly mirrored in up-market retail spaces. The commonality of the language communicates a shared ground: art is turned into goods, consumer products are displayed with the allure of a rare art object. Audiences now perceive art, fashion, film, architecture and design as a much more connected world of imagery. Technologies now transfer between film and theatre and display environments. Techniques of digital and media projection or large-scale, specialized screens are commonly used in contemporary exhibition and retail environments as a means to connect with a public in a way that is familiar. Projections and screenings (as long as the associated sound interference can be dealt with)can transform an interior, since the body of the space itself is thrown into darkness. A simulated or fictive environment can be created with a controlled use of light color, sound and moving images. The drama of such an effect was felt in Jean Nouvel’s installation at the Pompidou Centre of his own work in 2001-2002. Here banks of smaller screens played against other vast projects to create an immersive environment of color and form, quite remote from the familiar interior of the Pompidou itself. Such cinematic presentation makes for engaging viewing, and even in a gallery environment the film room showing biographical material will invariably be one of the busiest spaces. Here the works and personality of the artist can be clearly communicated with ease: often a much more comfortable procedure than addressing the work itself. And here lies the problem with multimedia presentation: overly cinematic presentation risks engaging a passive visitor, in effect watching television in public. While this might be popular, it will not create a rich experience and memory of the brand immersion or museum installation. Rather media technology should be dropped into the story line when it is appropriate-it is much more effective when it brings about a specific response from the audience. One of the most stimulating projection and film sequences of this kind is imagination’s Life at the Guinness Storehouse in Dublin. Imagination produced a suite of films which were to purvey a sense of the craic-the spirit of the Irish. The films are projected onto the rear of three translucent walls forming a custom-built room situated at the head of a mezzanine promenade. Having been immersed in the extraordinary ground-floor hall of brewing equipment, quite unexpectedly, the visitor finds an intimate room surrounded by local sounds, conversations, stories, music and sound bytes taken from radio archives and combined with resonant graphic images. The films are at once extraordinarily rich in their power to evoke the qualities of the Irish, but unlike many promotional films, these sequences are primarily graphics. As such, the images evoked are incomplete and demand an active and creative engagement with the show. It is remarkable how long lasting a memory these projections create. Chapter 2. Analysis the function of exhibition Chapter 3. The role of the curator plays in an exhibition：A bridge between audience and public exhibition 3.1. A Curator 3.2. What is a Curator Required 3.3. How to design an excellent exhibition Chapter 4. CAUSE STUDY Part 1: I