Cultural and Creative Products of Corporate Museum from the Life Style of Consumer - Taking the Singang Incense Artistic Culture Garden as an Example

• Main Authors: Chun-Yu Lin, 林俊佑
• Other Authors: Shyh-Huei Hawang
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/83266856312630025039

碩士 === 國立雲林科技大學 === 創意生活設計碩士班 === 99 === Many traditional industries, with the aim to achieve sustainable operation and preserve cultural heritage, have gradually transformed into enterprise museums. With the booming development of modern day’s cultural and creative industry, they have also started to sell cultural and creative products featuring museum characteristics. However, the study found that the general cultural products in the market not only do not appeal to consumers, they may even cause adverse impact on the cultural and creative industry instead. Hence, ‘cultural products’ have to be transformed and raised to a ‘cultural and creative product’ level. The study adopted questionnaires to explore consumers’ views on cultural and creative products, in order to re-evaluate the key design aspects and their market positions. By grouping the Culture Garden’s consumers according to their lifestyles, the study aimed to understand the consumer behavior of the various consumer groups. Chi-square test and variance analysis were used to analyze if there are significant differences between the consumer groups with respect to their understanding and needs of cultural and creative products. Looking from the viewpoint of consumers, modifications were made to the original three-level design framework of ‘cultural products’, with the aim to improve the acceptance level of enterprise museum’s consumers on ‘cultural and creative products’. Based on statistical data, seven recommendations were made on the future product design. With these as basis, modification and construction were made to the design framework of enterprise museum’s cultural products. The framework comprises of three levels, namely the practicality level, normal use level and aesthetic level. The three levels include nine important design aspects, three design evaluation criteria and one constraint framework. Finally, four cultural and creative product designs were proposed, and they were assessed by the criteria of the design framework. With the design changes made, the acceptance level of consumers on the Culture Garden’s cultural and creative products increased from 40% to 60%. The study shows that as the current general consumer habits on cultural products are not yet matured, the primary design condition should be practicality, and all design levels should not be ignored. The importance of each level will increase with the progress of the structure. There is a high co-relationship between consumer lifestyle and their understanding and purchasing needs towards cultural and creative products. In designing a cultural and creative product, the four important elements to be considered are its connotation, creativity, economic value and aesthetics.