I have just been to a lecture in the Kenneth Clark Lecture Theatre at the Courtauld Institute in which Adrien Gardère, the French museum designer (or museographer) explained his approach to display. Trained as a product designer, he started off designing lamps for Artemide. He then somehow won the contract to redisplay the whole of the great Museum of Islamic Art in Cairo, a project which was completed just before the revolution, with grey paint specified by the Minister of Culture, and was recently catastrophically blown up by a car bomb outside. He did the displays for the new Louvre in Lens, a cool, cerebral project by SANAA with aluminium walls in which the antiquities, objects and works of art are placed on a conceptual time line. He entered the competition for the Museum of Roman Antiquities in Narbonne jointly with Norman Foster, where together they are creating a display in which objects remain movable by a fork lift truck. Most recently, he has worked on the design of the Aga Khan Museum in Toronto. He did not mention that he has been working on a radical redisplay of the collection across the site at the RA. In all his projects, his approach drives at intellectual and visual lucidity with a minimum of superfluous interpretation.