| Summary: | 碩士 === 國立臺灣藝術大學 === 工藝設計學系 === 95 === Along With the “knowledge economy”, the trend of design industry has been towards brand marketing, particularly in emphasizing local cultures and motifs have become a design strategy. To further understand the “cultural and creative industry” development,this paper have composed many research regarding the difference between nationalized and regionalized cultural identity. In addition,how a designer may fuses his or her creative characteristics with the cultural experience in their designs that contains cultural connotations, analysis of consumer awareness and acceptance of cultural creativity, and how existing designers explore and extract design elements from culture using on their design works.
This research is based on the Beitou Cultural Foundation’s extensive portfolio and database, and the National Digital Archive Program which is to build a digital archive database for Taiwanese people to learn Taiwanese aboriginal garment culture through the internet and e-learning environment. The analysis and experiments are conducted to explore the possibility of designing cultural creative products from local cultural features. 115 students sereved as the subjects and were asked to evaluate two different kinds of cultural products . Then, the date were subjected to the MDS program to explore the factors affecting the cultural product design. Results are presented here providing the users with a digital archive database to learn Taiwan local cultural features.
The results are summaried as following: (1) Every cultural product must be identified, and the key factor for what identifies products is branding. However, if a product utilized aboriginal elements in design, it could be recognized as the cultural features. (2) Cultural creativity is a factor of the creative economy that consist of three elements, including: “originality”, “ethnicity” and “spirituality”. (3) The personality of Designer can be categorized into four groups: (sensible – alternative), (generic – organic), (flowing – solid), (retro - avant-garde). (4) Cultural reminiscence is the key factor to stir emotions, and sentiments have become a strategy in the market place. Based on the cultural factors, the consumer awareness of cultural creative product could be enhanced via design education. (5) Pricing is an important issue regarding the cultural creative product to the nationalized or regionalized cultural identity products evaluation. Results have shown a bipolar between low-price and low-quqlity, and high-price and high-quality. Therefore, the key factor in adding value to cultural design by applying the “cultural creative” method is an effectively approach.
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