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研究生:陳詩奇
研究生(外文):Shi-QiChen
論文名稱:探討台灣創意手作市集的遊逛者體驗——以策展設計為視角
論文名稱(外文):Exploring the Visitor Experience of Creative Handmade Market in Taiwan — A Curatorial Design Perspective
指導教授:楊佳翰楊佳翰引用關係
指導教授(外文):Chia-Han Yang
學位類別:碩士
校院名稱:國立成功大學
系所名稱:創意產業設計研究所
學門:設計學門
學類:綜合設計學類
論文種類:學術論文
論文出版年:2021
畢業學年度:109
語文別:英文
論文頁數:120
中文關鍵詞:創意手作市集遊逛者體驗遊逛者旅程地圖策展設計策展人
外文關鍵詞:Creative Handmade Market (CHM)Visitor ExperienceVisitor Journey MapCuratorial DesignCurator
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在機械霸權、工業文明以及電子商務支配設計技術、方法與形態的背景下,全球手工藝品的生存境況喜憂參半。創意手作市集由西方的跳蚤市集和工藝品市集演變而來,是一種另類的手工藝品展售方式。它具有“手感經濟”、“快閃經濟”和“小商業運動”的價值,但在學術上很少被探討。
台灣的創意手作市集尤其以創意體驗為特色,但如今面臨著同質化、僵化、過度商業化等挑戰。另外,隨著“策展”日漸被挪用到非博物館領域,創意手作市集作為一種零售和展覽的結合,也越來越多地採用策展進行體驗設計,但是我們對這種日益增長的策展設計現象知之甚少。
因此,本研究從對台灣創意市集發展的價值、擔憂和疑慮出發,探討在氾濫化、制式化的市集景象下,策展設計是否以及如何介入創意市集,進而為其重新註入活力並增加區隔性,以應對市場的疲軟和消費者對優質體驗不斷增長的需求。基於此,本研究進行了參與式觀察,對6個創意市集案例進行多案例研究,共對17位訪談者(其中9名遊逛者、6名主辦人和2名攤主)進行深度訪談,從而對以下問題進行探索:創意手作市集在體驗經濟和泛策展時代下不斷演變的價值和發展缺口是什麼;目前台灣創意手作市集的遊逛者體驗和顧客期望是何貌;創意手作市集如何通過策展設計改善遊逛者體驗。
透過調查,本研究發現策展設計主要可以透過3條路徑提升創意手作市集的遊逛者體驗:從一次性活動到產業循環週期提高產品或創作者的品質;從有形到無形塑造市集個性;從溝通到對話激發市集互動過程。基於對6個案例以組織導向型和策展導向型的定位和分析,創意手作市集的策展設計建議也進一步被提出。這些討論豐富了創意空間的遊逛者體驗與策展設計理論,同時可以適用於其他手感經濟、快閃展覽和選品零售等領域。
Given that the mechanical supremacy, industrial civilization and e-commerce have dominated the design technologies, methods and forms, the global handicraft industry is experiencing the double-sided journey of revival and struggle. The creative handmade market (CHM), which aroused by the phenomenon of various flea markets and craft fairs in the West, is an alternative exhibiting and retailing space exclusively for the indie handmade goods. It has evolved globally with growing value of “handmade economy”, “pop-up economy” and “Shop Small Movement”, but rarely explored in academic research.
The CHM in Taiwan is particularly featured as a creative experiential destination, but now facing challenges such as homogeneity, rigidity, and over-commercialization. In addition, as “curation” is increasingly applied to non-museum fields, creative handmade market, as a combination of retail and exhibition, are encouragingly adopting curation for experiential design. Of this growing phenomenon, scarce is known about the curatorial design side of creative handmade market as we understand it.
Therefore, this research starts from the value, worries and doubts about the development of Taiwan’s CHM, and explores whether and how curatorial design can intervene in the CHM, thereby re-energizing and differentiating it, to respond to the market’s weakness and the growing consumer demand for quality experience. In above context, this research conducted participatory observation, multiple case study into 6 selected cases and 17 in-depth interviews altogether (of which 9 were with visitors, 6 with organizers and 2 with vendors) to explore the following questions: what is the evolving value and development gap of CHM under experience economy and the para-curation era; what is current visitor experience and customer expectation of CHM in Taiwan; how the curatorial design of CHM can improve the visitor experience.
Through investigation, it is found that curatorial design can advance visitor experience mainly though three routes: enhance product/creator quality from one-time event to industry cycle, create personality from tangible to intangible; motivate interaction from communication to dialogue. Curatorial design suggestions are further proposed for CHM based on the positioning of two categories as organization-oriented and curation-oriented CHM. These discussions enrich the theory of visitor experience and curatorial design in creative space, meanwhile can be applied to other fields such as handmade economy, temporary exhibitions, and selection retail.
摘要 i
Abstract ii
Acknowledgment iv
Table of Contents vi
List of Figures viii
List of Tables ix
CHAPTER 1: INTRODUCTION 1
1.1 Research Background 1
1.1.1 The Revival and Struggle of Global Handicraft Industry 1
1.1.2 The Rising Trend of Experience Economy and Pop-up Economy 2
1.1.3 The Creative Handmade Market in Taiwan 3
1.2 Research Motivation 4
1.2.1 Academic Perspective 4
1.2.2 Industry Perspective 5
1.2.3 Personal Perspective 7
1.3 Research Scope 7
1.4 Research Objectives and Questions 8
1.5 Terminology 9
CHAPTER 2: LITERATURE REVIEW 11
2.1 Creative Handmade Market (CHM) 11
2.1.1 Review of Definitions of CHM: From Flea Market to Creative Market 11
2.1.2 The Development Journey of CHM in Taiwan 14
2.1.3 The Criticism on CHM in Taiwan 19
2.2 Visitor Experience 21
2.2.1 Review of Visitor Experience 21
2.2.2 Visitor Experience Journey of Customer Expectation 24
2.2.3 Visitor Experience in the Creative Space 26
2.3 Curatorial Design 28
2.3.1 Review of Definitions of Curation 28
2.3.2 The Evolution / Extension of Curatorial Design 29
2.3.3 Curatorial Design Dimensions 33
CHAPTER 3: RESEARCH METHODS 37
3.1 Research Design 37
3.1.1 Research Concept 37
3.1.2 Research Process 38
3.2 Research Methods 39
3.2.1 Case Study 39
3.2.2 Participant Observation 40
3.2.3 In-depth Interview 41
3.3 Research Cases 41
3.3.1 Criteria for Case Selection 41
3.3.2 Lists of Selected Cases 43
3.4 Data Collection 44
3.4.1 Process of Data Collection 44
3.4.2 Sources and Types of Data 48
3.4.3 Sampling Method of Interviews 49
3.5 Thematic Analysis and Coding 52
CHAPTER 4: Data Analysis and Findings 53
4.1 Overview: Curatorial Design Perspective into CHM Industry 53
4.1.1 Hype or Hope: Curation as A Term and Practice is Evolving in CHM 53
4.1.2 Organizer, Curator and Curatorial Design 55
4.1.3 The Role of Curator in CHM: Spirit, Education, Dialogue, Time 59
4.2 The Evolving Value and Development Gaps of CHM 64
4.2.1 Evolving Value: More Than the Handmade Business 64
4.2.2 Gap One: Two Extremes of Curated CHM and Night-market-like CHM 67
4.2.3 Gap Two: Awareness and Practical Effect of Curatorial Design in CHM 68
4.3 Current Visitor Experience and Customer Expectation of CHM 69
4.3.1 Visitor Journey Map of CHM 69
4.3.2 Consumer Desires and Expectations along Visitor Journey 77
4.3.3 From External Offers to Internal Outputs: Evaluation of Visitor Experience in CHM 81
4.4 Curatorial Design of CHM 84
4.4.1 Selected Cases: Curation-oriented & Organization-oriented 84
4.4.2 Curatorial Design Practices of Six Cases 86
4.4.3 Differences Analysis: Curation-oriented vs. Organization-oriented 90
CHAPTER 5: Discussion and Conclusion 95
5.1 Research Discussion 95
5.1.1 How The Curatorial Design Can Improve The Visitor Experience of CHM 95
5.1.2 The Relationship between Visitor Experience and Curatorial Design in CHM 100
5.1.3 Suggestion of Curatorial Design: Organization-oriented CHM and Curation-oriented CHM 102
5.2 Conclusion 105
5.3 Research Limitations and Future Suggestions 107
References 109
Appendix 115
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