Abstract The cultural creativity industry has become a key indicator of national competitiveness; this can be seen from the cultural competition through creativity in major events such as the Olympics and the World Expo. However, culture and artistic creativity cannot be cultivated within short periods of time, and does not lead to accomplishments quickly like technological, economic, or political activities. The primary spirit of the cultural creativity industry should be in disseminating cultural elements and materials, followed by the process of creativity, and finally resulting in economic benefit. Museums are the greatest physical manifestation of cultural imagery. Museums¡¦ six major functions, which are collection, research, education, exhibition, leisure and entertainment, and exchange, indicate that they provide a high quality environment for cultural preservation. Cultural relics are the most important carriers of cultural knowledge; they represent a segment of history, and reflect contemporary customs and lifestyles. Many cultural relics contain stories in their existence, and may easily create interesting topics on an artistic foundation. Thus, museums provide a very important source for enhancing the quality and quantity of cultural meaning. Additionally, museums also provide a stage for the performance of cultural creativity products, such as exhibition-planning, exhibition design, design planning for related media, and the exhibition and sale of industrial art products. The purposes of this study are: 1) to understand the actual conditions of cultural knowledge transmission by museums, and existing correlation to the cultural creativity industry; 2) to collect the more comprehensive actions or projects in providing cultural creativity by museums, to serve as the basis of whether it is necessary to construct a cultural knowledge provisional platform, or how to construct it; and 3) to construct hypotheses on creating a platform organization for museums to provide cultural knowledge. Research subjects include the National Palace Museum (national level), the National History Museum (Ministry of Education), the National Museum of Taiwan Literature (Council for Cultural Affairs), the National Science and Technology Museums (Ministry of Education), the Broadcasting Museum (non-profit corporation). In-depth interviews and questionnaires are used for data collection. Conclusions of this study include: 1. Museums can certainly provide abundant cultural knowledge. 2. Digital archives of museums can certainly be converted to added value for cultural knowledge, and in turn, convert to creative and design knowledge. 3. Digital archives and activity processes and records formed through museum functions are preserved within museums, but are not all open to the public. 4. In order to convert museum digital archives and activity processes and records into externally visible cultural knowledge with creative usage value, it is necessary to use systematic design to stimulate the internal knowledge of museums. In turn, the external and internal knowledge interactive cycle can produce added value in cultural knowledge functions. 5. Since there are great differences among museums in terms of their resources, most museums are unable to convert internal cultural knowledge resources into design knowledge with value added to knowledge. Thus, in order to allow creative personnel to broadly utilize cultural knowledge within various museums, it is necessary to create a feasible platform organization to integrate all cultural knowledge resources within museums. This study suggests that a cultural knowledge platform institution based on museums should be constructed, and the institution should have the following characteristics: 1. A standing and independent organization with long-term and stable funding for operation, with significant public confidence, and can assuredly obtain all knowledge resources of museums. It is possible to collect information hubs of cultural knowledge from various museums, and systematically construct cultural knowledge databases. This organization is not affiliated to any museum and does not exist within government administrative organizations. 2. A friendly and convenient museum knowledge database. Its data should include data in existing domestic museum digital archives, as well as data not provided by museums in the exhibition-planning process. The database should also comprehensively collect creative works derived from museums in various countries, such as exhibitions, films, industrial artworks, operas and music, multimedia, gaming software, museums and urban tourism, apparel, special culture and foods, among others, in order to construct the largest museum knowledge platform database. All databases need to have a powerful base of professional consultants to guide usage, and to have convenient search facilities. 3. A professionally trained and powerful group of creative consultants who can research and develop various projects for converting cultural knowledge into creativity. 4. Multimedia rooms and conference rooms with sufficient cultural atmosphere and seating to allow cultural workers to congregate, comfortable environment for them to discuss their creative ideas. 5. To have several exhibition spaces for standing exhibitions and special exhibitions, to create experimental exhibition rooms that allow museums to serve as a source for creative knowledge, allowing cultural creators to have a concrete place to exchange their ideas. 6. Various stable and continued theme events, including different themes for different cultural creative groups, so they can have events to elicit cultural creativity. An official website could provide various types of up-to-date cultural knowledge, corporate matching information, cultural creation competitions, and information on observations. Unlike most museum websites, this website would be primarily focused on interaction and learning. 7. The platform organization should not belong to any single museum or be directly under the organization of Council for Cultural Affairs, in order to avoid jurisdictional problems. 8. There should be an ability to arrange exhibitions, and the main points of cultural knowledge application should be evinced in the exhibitions. There should be clear instruction on understanding and applications of cultural knowledge of museums by various industries. 9. Location of the platform organization should be easy to reach, within the most popular commercial leisure area (such as department stores), so that more people and cultural creative workers can conveniently reach it. The organization should contain a creative and attractive gift shop and food court area, and the creative products should be related to museums. 10. The organization should be able to invite international creative workers (and groups) by successfully selecting those who create works relating to museum-related issues for exchange and to make lectures. 11. The platform organization can provide creators with supplemental knowledge in exhibition technology, manufacturing and production, and financial management. 12. A membership system for domestic people, cultural creative workers, and corporations, but foreigners should be able to view exhibits once by using their passports. Tourism promotions can quickly transmit information about Taiwanese museums and to rapidly promote creative works in museums. Here, it is possible to refer to a successful example in the Thailand Creative and Design Center in Bangkok. 13. Different associations can be established within the platform organization, in order to promote further exchange of knowledge and experiences. Keyword: museum, cultural creativity industry, cultural knowledge, digital archives