This chapter is an attempt to define and trace the development of an emerging genre of spatial design known as Narrative. It also aims to shed light on some theories and classifications related to its problem. Understanding and analyzing previous efforts in the area will form the cornerstone of exploring the attributes of a space that make it capable of telling a story and conveying a message. Nigel Coates – one of Britain's most original and profound theorists and thinkers in architecture, interior and product design – has written deeply about and practiced design based on what he calls a "narrative" approach to design. (Incerti, G. 2008) In his recently published book – Narrative Architecture – (which will form the basis for this chapter) Nigel Coats stated: “In exploring narrative, I have no predominant theory from which a new architecture can arise” , he also stated that “Concepts of narrative are embedded in the post-millennial language of architectural debate, but relatively few of these concepts are organized in print” (Coats, N. 2012). However, his theory and thinking summarize an intuitive approach that he began practicing in the 1970s and 1980s forming the architecture group (NATO) Narrative architecture today. His theory also offers a new way of interpreting buildings and creating new opportunities to understand, appreciate and design spaces and buildings... differently. In an attempt to understand the bigger picture, different spatial contexts will be introduced starting from architecture and landscape. Later in chapter two, the key findings gathered will be applied to a more specific context; Spatial exhibitions and installations.1.2 What is narrative architecture? Nowadays, the term “narrative” is used w...... half of the paper ......does not reside in a system of triggers that signify poetically, above and beyond functionality. Narrative means that the object contains some “other” existence parallel to its function.” (Coats, N. 2012) As will be presented in the following three examples, Coats believes that it is better for the messages sent by architecture to be subtle and static rather than overt. He suggested that they often follow an anti-sequential order; they are always there, positioned and waiting to be perceived by a curious visitor. (Coats, N. 2012) These two suggestions, since they to some extent contradict the purpose of the spatial installation, raise two questions: How complex and hidden should the message be? And who is the target earner? Before answering these questions, it is important to explore more about the capacity of the space through background analysis.