新通道產(chǎn)品-2011-2017書稿2014newchannel web附錄花瑤花暑期工作營成員名單

2014新通道·花瑤花DESIGN&SOCILALINNOVATIONSUMMERCAMP教育部工業(yè)設(shè)計(jì)教學(xué)指導(dǎo) 教授博導(dǎo)湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院副院長，教育部工業(yè)設(shè)計(jì)教學(xué)指導(dǎo) 安晟喜：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、英國布魯內(nèi)爾大學(xué)博士趙恩智：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、米蘭理工大學(xué)博士Mohsen:湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、IIT博士要文瑾：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、張朵朵：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、千葉大學(xué)博士張軍：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師、博士侯謝：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師馬穎彬：湖南大學(xué)設(shè)計(jì)藝術(shù)學(xué)院教師：

梁盯：教授理工大學(xué)生活形態(tài)研究 國際設(shè)計(jì)與商業(yè)管理課程:AUYEUNGAlanKaronTONGChungMan,JesicSHAHCharulUmeshDuanYe,ZHANGShunying,SunnieLIUTing,AnnaLINChihao,ACERODURANAasoMaaLIUMai,JasonTANJunting,葉甫納：藝術(shù)家任教于美術(shù)學(xué)院實(shí)驗(yàn)藝術(shù)系，畢業(yè)于英國圣馬丁實(shí)驗(yàn)藝術(shù)系郭城 任教于同濟(jì)大學(xué)同濟(jì)中芬中心藝科實(shí)室畢業(yè)于英國藝術(shù)學(xué)院產(chǎn)品設(shè)計(jì)安家樂：擔(dān)任Celine的自由設(shè)計(jì)師，畢業(yè)于英國圣馬丁時(shí)裝魏代維科技大學(xué)易 李仕 華東理工大學(xué)黃 張理蔡志文：楊媛媛：：湖南省工業(yè)設(shè)計(jì)時(shí)尚設(shè)計(jì)總監(jiān)、米蘭理工大學(xué)博士 湖南省工業(yè)設(shè)計(jì)視覺設(shè)計(jì)總監(jiān)、米蘭理工大學(xué)博士 資深音樂 湖南省工業(yè)設(shè)計(jì)創(chuàng)新平臺(tái)產(chǎn)品設(shè)計(jì)師 湖南省工業(yè)設(shè)計(jì)創(chuàng)新平臺(tái)平面設(shè)計(jì)

廖勤櫻：微軟志愿設(shè)計(jì)師： 劉忠華羅 鄧曉針對通道這樣一個(gè)具“獨(dú)特的自然生態(tài)環(huán)境與豐富的非物質(zhì)文化遺產(chǎn)但經(jīng)濟(jì)發(fā)展的少數(shù)民族地區(qū)整合不同專業(yè)和學(xué)科的優(yōu)勢通過合理的村鎮(zhèn)規(guī)劃、生態(tài)旅游開發(fā)、信息與物流網(wǎng)絡(luò)建設(shè)、產(chǎn)品與服務(wù)系統(tǒng)整合、非物質(zhì)文化遺產(chǎn)保護(hù)等綜合的工作方法，建立一個(gè) 計(jì)創(chuàng)新和基于網(wǎng)絡(luò)的在保持當(dāng)?shù)鼐用窈椭C生活形態(tài)的前提下，通過設(shè)計(jì)使這些地區(qū)憑借文化優(yōu)勢和資源特點(diǎn)獲得發(fā)展機(jī)遇，是農(nóng)村社區(qū)社會(huì)創(chuàng)新的目標(biāo)參與式的促進(jìn)當(dāng)?shù)鼐用竦奈幕灾饕庾R和產(chǎn)、2014新通花瑤花設(shè)與社會(huì)創(chuàng)新項(xiàng)目是由美克美家發(fā)由湖南大學(xué) 理工大學(xué)等單位聯(lián)合開展的跨學(xué)科聯(lián)合設(shè)與社會(huì)創(chuàng)新活從2014年7月初到8月項(xiàng)目組的59名師美克美家專業(yè)社會(huì)工作者 以湖南省隆回縣虎形山鄉(xiāng)崇木凼和通道縣坪坦橫嶺村為營以周邊地主要是花瑤與侗的民族工藝為重點(diǎn)研究對，通過對非物質(zhì)化遺產(chǎn)影像記工業(yè)設(shè)計(jì)等綜合（ 方，圍繞保護(hù)當(dāng)?shù)鼐用竦幕鷳B(tài)和社會(huì)資激活當(dāng)?shù)鼐用竦膭?chuàng)新意識和產(chǎn)業(yè)發(fā)展等角通過向手工藝傳人學(xué)組織當(dāng)?shù)貎和途用窆餐瑒?chuàng)作等方探索非遺文化的數(shù)字化保護(hù)與 方開發(fā)出一批具有典型文化特面向國際市符合現(xiàn) 活需要的數(shù)字化產(chǎn)品以及文化創(chuàng)意商探索基于網(wǎng)絡(luò)可持開放的化發(fā)展和商業(yè)支撐的模，為傳統(tǒng)化的保護(hù)創(chuàng)新及 提供設(shè)計(jì)支。、

2014新通花瑤花設(shè)計(jì)與社會(huì)創(chuàng)新項(xiàng)目三期是由美克美（MHF）主辦，湖南大學(xué)（HNU）及 理工大學(xué)（PolyU）等單位共同組織，PolyU團(tuán)隊(duì)是以 理工大學(xué)設(shè)計(jì)藝術(shù)學(xué)院的梁町教授與10名在讀、、、所組成，具有很強(qiáng)的設(shè)計(jì)能力與社會(huì)創(chuàng)新能力。湖南大學(xué)的團(tuán)隊(duì)以設(shè)計(jì)藝術(shù)學(xué)院何人可、安晟喜、Mohsen、張朵朵、要文瑾Luigi、趙恩智等分別來自中國、韓國、意大利等國家從事生構(gòu)成。整個(gè)團(tuán)隊(duì)成員中包含了11位博士、23位和來自微軟、、、、此次項(xiàng)目團(tuán)隊(duì)根據(jù)需要被劃分成為四個(gè)大組:Deigforthinking鄉(xiāng)村社區(qū)研究）、Deiforheritage（為傳統(tǒng)文化而設(shè)計(jì)）、Dforhappines為感而設(shè)計(jì)）、DeiforBusines商業(yè)模式設(shè)計(jì)Deiforheritage（為傳統(tǒng)文化而設(shè)計(jì)包括三個(gè)小組：和當(dāng)?shù)鼐用竦哪Ｊ竭M(jìn)行了研究和探索。Designforthinking鄉(xiāng)村社區(qū)研究小 與工業(yè)化，探索鄉(xiāng)村的文化資本與手工的價(jià)值。系統(tǒng)下城鄉(xiāng)互動(dòng)的過以文化創(chuàng)新和設(shè)計(jì)參與為導(dǎo)向的“鄉(xiāng)村生活方式”的價(jià)值體系。社區(qū)研究組對橫嶺及隆回等地進(jìn)行了半個(gè)月的田野，通過深入當(dāng)?shù)赜脩粼L談和走訪觀察，繪制了自然人文資源地圖并以虛構(gòu)的一個(gè)家庭的故事串聯(lián)起當(dāng)?shù)鼐用竦纳嫘螒B(tài)和生活點(diǎn)滴將原本紛繁復(fù)雜的研究數(shù)據(jù)以趣味橫生的形式表現(xiàn)出來，成為其他組別 與產(chǎn)品設(shè)計(jì)的基礎(chǔ)。社區(qū)研究組-本地資HenglingHenglingbagDecorationt98Dcintervieweeintervieweeinterviewee2intervieweeintervieweeintervieweeinterviewee2intervieweeinterviewee3intervieweeinterviewee4intervieweeinterviewee5interviewee7interviewee1Ageofintervewees’family Primaryfamilymemberlivinginnumberoffamilyfamilymemberlivingoutside(excludingshopweavingDongvicevillage1234+husband,1234+husband,Secondary

社區(qū)研究組-地區(qū)居民基本情況調(diào)查PREFERENCEPREFERENCETOWOODENwarmerinwinterandcoolerinsummer.LOCALWISHTOPROMOTELIMITEDFARMERS&INFERTILECARPENTER’SIlearnedwoodworking16yearsold.TOTHEIRLIFETRADITIONSOFBROCADEOFRespecttheeldersLeft-behindFondtomarrylocalStaytogetherafterTOStrongwishtocomebackhoandstaywithfamiliesNeedsfor NeedsforCommunity“Nomatteritissummerortothisdrumtower.Inwinter,everyonebringsrewoodandpeoplemakereandkeepwarm

Needsfor

“Inhard-workingday,wewouldliketoinviteothervil-lage’speopletocometomyhousefordinner,reltives,friends,evenstrangers.”“Wehavedierentteams,likeLusheng(alocalinstrument)team,文化與產(chǎn)業(yè)發(fā)展基Designforheritage為傳統(tǒng)文化而設(shè)計(jì)是基于對地方資源與社會(huì)資產(chǎn)特色了解的基礎(chǔ)之上“可持續(xù)的社會(huì)創(chuàng)新為目標(biāo)通過合理的“組織設(shè)計(jì)”和“知識平臺(tái)”構(gòu)建方法將豐厚的文化資產(chǎn)轉(zhuǎn)化為生產(chǎn)（包含產(chǎn)品視覺、環(huán)境、服務(wù)）和社區(qū)的可持續(xù)創(chuàng)新能力。設(shè)計(jì)師團(tuán)隊(duì)通過參與式的工作方法與當(dāng)?shù)鼐用襁M(jìn)行互動(dòng)一方面增進(jìn)他們的對本地文化的自豪感增強(qiáng)社區(qū)凝聚力另一方面使設(shè)計(jì)師、當(dāng)?shù)鼐用袷止に嚾酥g的知識能夠得到共享促進(jìn)深度創(chuàng)新的 設(shè)計(jì)與當(dāng)?shù)貪撛趶臉I(yè)自然資源結(jié)合進(jìn)行 侗錦設(shè)計(jì)小組是以米蘭理工服裝設(shè)計(jì)博士Luigi為主的團(tuán)以侗族獨(dú)特的織錦花瑤挑花為依托完成了客制化設(shè)品“梭”的品牌策產(chǎn)業(yè)模型和產(chǎn)品研發(fā)進(jìn)侗錦組“穿出你的故事細(xì)說她們的故事“行人的故事為品牌進(jìn)一步 “梭品牌客制化圖紋信化民俗旅游三方向的產(chǎn)品規(guī)同還展“梭品牌的 產(chǎn)并將在諸多國際設(shè)計(jì)與時(shí)尚展中進(jìn)行跟 次的品牌推瑤挑花圖案中提取元素，通過整合分析，分別以侗錦組從花瑤及通道的傳統(tǒng)特色花紋極具現(xiàn)代感的新紋樣。利用當(dāng)?shù)厝藦U棄的竹簍與木質(zhì)窗框，進(jìn)行二次設(shè)計(jì)之后成為一個(gè)簡易的儲(chǔ)蓄便捷性。衣架掛鉤的部分采用侗族建筑榫卯結(jié)構(gòu)中常出現(xiàn)的鳥了通道侗族建筑的風(fēng)格特征

【鳥.地?zé)簟康責(zé)舻牟牧嫌苫厥盏膹U棄物改造而成，底座和支架的大木塊和枝干拾自侗寨周圍的環(huán)山，做燈罩的鳥籠從居民家中的雜物堆中淘來。藤條編織的鳥籠，造型飽滿，歲月打磨的痕跡更為其增添了一份質(zhì)樸，木材處理部分對自然形態(tài)的尊重成就了其獨(dú)一無二的造型。燈具制作所用的材料均為舊物利用上部的燈罩為侗族居民日常生活所帶斗笠經(jīng)簡單彎曲制作而成下半部分則是由撿拾的樹枝進(jìn)行簡單的拋光打磨后直接應(yīng)用保留了侗寨原汁原味的侗族 和人文情懷?！绝B.躺椅】【鳥.躺椅】躺椅的框架在完美的保留了侗族傳統(tǒng)家具造型的同時(shí)融入了新的創(chuàng)新元素，躺椅的背部采用了一整塊素錦，素錦上的鳳鳥紋與衣架上的鳥頭造型完美的呼應(yīng)，竹木材料與織錦的搭配，表現(xiàn)了鳥椅的剛與柔美。影像影像組以完成通道縣當(dāng)?shù)孛袼孜幕癁橹鞯钠瑸橹?，其中主要拍攝任務(wù)為新通道項(xiàng)目進(jìn)程，以及對通道及隆回非物質(zhì)文化遺產(chǎn)的數(shù)字化及保護(hù)。同時(shí)記錄通道縣各個(gè)侗寨的本色風(fēng)景，更為大家展示了影像組針對侗鄉(xiāng)的傳統(tǒng)文化、人文進(jìn)行的視角記錄下侗族人民巧奪天工的智慧。期采訪小組了解項(xiàng)目進(jìn)程隨時(shí)隨地記錄小組動(dòng)態(tài)實(shí)況工作營項(xiàng)目進(jìn)展的點(diǎn)點(diǎn)滴滴。自行搭配穿戴從而構(gòu)成影像的原始素材。影片充分體現(xiàn)侗家人與眾不同的民族。9，家庭情況 在， 吃西瓜、當(dāng)魚、爬樹養(yǎng)狗吳婄老65歲但是帶小孩子做不 ：左楊賀哥哥 弟：6橫嶺小學(xué)學(xué)前班蒙悅8：、家庭情況叔叔舅舅在外工作：、：：64歲119t:AcademicDesignManagementConferenceDesignManagementinanEraofDisruptionLondon,2–4SeptemberPositiondesignerintheprocessoflocalcraftrevivalintheemergingmarkets:AnEmpiricalStudyonChineseEthnicBrocadeIndustryWeiWANGa*,TieJIaandMohsenJAAFARNIAaaSchoolofDesign,Hunanuniversity,chinaCraftrevivalhasmadeacomebackwiththeriseofcreativeandculturalindustriesbothindevelopedcountriesandemergingmarkets.Butthedifference,againsttheso-calledcraftrenaissanceacrossBritaininthe1970s,isthattoday’srevivalmostlyemergedwithsocialresponsibilityfromdevelocountriesinalocal-scale,typicallystrikeitsrootinalocalcultureandreformfortheimpactinalargermarket.Alongsidetheblurredboundariesbetweencraft,designandartsintheoreticallevel,designismoreconsideredasakeyelementinthecontemporarytransformationbetweentraditionalcraftproductionandmodernconsumptioninsocial-culturelevel.Soitisimportanttopositiondesignerintosuchlocaleco-systembasedondynamicanddiversepractices.WithinliteraturereviewandthecasestudyofGaemlBrocade,thispaperaddressthedifferencesofcraftrevivalinemergingmarkets,y-sisthehierarchyofcraftspeopleanddiversityofmarkets,andthechangingofdesigners’rolefollowinglocalcraftdevelopment.Theco-creationmodelbetweendesignersandcraftspeoplehasbeenprovedadvantageoustowardsthesustainabledevelopmentoftra-ditionalcrafts.：Co- *Correspondingauthor:WeiWang|Copyright@2014.Copyrightineachpaperonthisconferenceproceedingsisthepropertyoftheauthor(s).Permissionisgrantedtoreproducecop-iesoftheseworksforpurposesrelevanttotheaboveconference,providedthattheauthor(s),sourceandcopyrightnoticeareincludedoneachcopy.Forotheruses,includingextendedquotation,pleasecontacttheauthor(s).IntroductionAftertheeconomicalshiftinrecentdecadesfromcraftproductiontoflexiblesystemandsoftwareindustry(Cusumano,1992),craftre-vivalhasmadeacomebackwiththeriseofcreativeandhandicraftindustries,DIYrevolution,alfactoryandwiththeapplicationofthekick-startermodel.FromthedevelopmentofArtsandCraftsMovementinthenineteenthcentury,totheso-calledcraftrenais-sancethatspreadacrossBritaininthe1970s(Peach,2013),today’scraftrevivalhasdifferencesintermsofcharacteristicandalsohasafreshbatchofchallenges.Firstly,itisbasedonthechangesusheredinbythepost-industrialproductionbringingoutmassivechangesinthesocio-economiccontext,whichisrevealedbytheproductive,or-ganizationalandtechnologicaltransitionfromthelargeFordistfac-torythatcharacterizedthetwentiethcentury,tothenewpost-Fordistproductionsystem,includingopensource,customization,crowd-

sourcingandsmallbatch(Imbesi,2012).Secondlytoday’srevivalhastogiveacombinedapproachtotheculturalheritageandsocialresponsibilityteamedwitheconomicdevelopmentalneedsrangingfromunderdevelopedregionsinaglobalscale,typicallystrikingitsrootinalocalculturetoreformingvariantsfortheimpactinalarg-ermarket.Thirdlycurrent,marginsbetweencraftanddesignarefadingeventually,withcraftspeopletrainedtoproducebeyondthelimitedscaleofindividualwork,anddesignersgettinginthewayofbeingabletoeconomicallyjustifyproductionofuniquepieces(Kettley,2005).Withinthedynamicsofcraftpractices,professionaldesignersqualifiedwithexpertiseandindustrialinsights,playapiv-otalroleforthecraftspeople(Shiner,2012).Duetohistoricalevolu-tionofcraftdisciplineandthecharactersoftraditionalhandmadeindustry,moderndesignshouldfinditspositioncollaboratedwithartsandcrafts,bridgingcraftrevivaltomodernindustriesanddi-versemarkets.RevivalofLocalcraftinemergingFollowingahistoricalreview,itpresentthatnomatterinde-velopedcountriesoremergingmarkets,crafthasmadesignificantcontributionstotheeconomyinthelastfewdecades.ForexampleinUK,referringothereportofCraftCouncil(Schwarzel.,2010),thecraftsectormadea3billioncontributiontotheUKeconomy,andhasa13%representationofthoseemployedintheUK’screa-tiveindustries.Thetotalmarketbuyingoriginalcraftis11.3millionpeople,farbiggerthanthatoffineart.Inworldwide,accordingtotheCreativeEconomyReport2008(UNCTAD,2008),artsandcraftsaretheonlycreativeindustrywheredevelocountrieshaveac-quiredaleadingpositionintheglobalmarket.Forthiscreativesec-tor,develocountryexportsgrewdramatically,from$7.7billionin1996to$13.8billionin2005,accountingfor60%oftotalworldexportsofcreativegoods.Tourismandtheexpansionofleisureandartmarketsappeartohavemadeasignificantcontributiontothedynamismofartsandcraftsandevenpromisestodobetterinthecomingyearsoftheworldmarket.Butinemergingmarkets,theprofessionandoperationofcraftindustryisquitedifferentagainstwhichindevelopedcountries.Indevelopedcountries,theparticipa-tors,nomatteremployedorfreelance,usuallyarewell-educatedcreatorswithcraftsmanship,moderndesignexpertise,evenhavesomecommercialinsightsandcouldusealsocialnetworktopromotetheirworks.SoCraftCouncil(UK)usethetermmakertorepresentthoseworkingwithacontemporaryaestheticincraftdisciplines,whichasarolecombinescraftspeople,contemporaryartistandmoderndesigners(Schwarzel.,2010).Butinemergingmarkets,theprofessionwouldbeblurredorsomehowbasedonregionaldifferencesofsocio-economicdevelopment.Craftspeopleplaymultiplerolesinanagriculturalsocietyandun-derdevelopedeconomy.Typicallytheyhavealowlevelofliteracy,eandlacktheconnectionwithoutsidemarkets.Theylearnthecraftfromkinshiporcommunity,meanwhileconsideringitasanadditionalwayforlivingaswellasaculturalheritageoflocaltraditionoridentity.Followingglobalization,craftspeopleinemergingmarketshavemorechancestoinvolveintoalargereco-systemofmass-productionandconsumptionindifferentways.Akindofcraft-designcollabora-tionistermedas“outsourcingthehand”(Murray,2010).WesterncraftenterprisesoutsourcetheirproductiontoAsiaorAfrica,butshiftfromtraditionalmass-productionfactoriessuchinChinatovar-iedcraftworkshopinpoorerregions.Fromamodernwesternper-spective,designentrepreneursleadtheproductionprocessaswellascollectlocalacumenfromcraftspeoplefornewseason’sdesign,thenexhibitandretailtheminwesterncontext.Theseameliorativeprojectsdonotjusttaketheeconomicbenefitforcraftspeoplebutarealsocontroversialinreducingthedegreeofcreativeinvolve-mentfromtheproducersandtreadupontheintegrityofinlectualrightsandfairtrade.Aradicalviewfromculturalpreservationistsisthatcraftwouldceasetobeembeddedinthenaturalrhythmofrurallifeandinturn eaproductofamechanizedprocessthatcanbeturnedoffandonwiththewhistle.Closelyyzingthereasonbehindthesearguments,onecanomeacrossthemultiplemeaningsofcraftinlocalliving.Fromitseconomic,socialandculturalvalue,AnnaKouhia(2012)ad-dressedamulti-perspectivalframeworkforthemeaningsofcraft,includingfunctionalmeanings,materialmeanings,aestheticmean-ings,expressivemeanings,experientialmeanings,multi-sen-sorymeanings,collaborativemeaningsandnarrativemeanings.Itisobviousthatthesamecrafthasdifferentmeaningforitslo-calproducer,businessownerandglobalcustomerintheirdiffer-entculturalcontext.RaymondWilliam(2005)presentedanotionofdominant,residualandemergentculturalbehaviors,WoranoochChuenrudeemolel.(2012)addedtothisbysayingthatcrafts,consideredasaformofculturalactivity,hasitsownpathofevolu-tionthroughaperiodoftime,whichseemstocorrespondwiththeprogressionofculturalbehaviorsmodel(Figure1).Withtheimpactofglobaleconomyindifferentcultures,thecraftfromunderdevel-opedregionwouldbeconsideredasanexoticemergentcultureforthewesternwhilethecraftitselfwouldsimplyremainaresidualcultureinlocalcommunity.Soifdesigninvolvementcannotrevivelocalcreationandreinforceitsstatusinlocaldominantculture,localcraftswouldjustremainasellingpointforoutsiders,whilelosingitsinherentmeaningforlocalcommunitiesinmanycenturiesandfad-inginthelocaleco-system.Figure1Residual-Turned-EmergentCulturalEvolutionbyOutside-De-signersStimulant.SourceChuenrudeemol,W.(2012).

FollowingthispointsomeNGOsexploredamoresupportiveandconstructivewayforrevivalandrestoration.Forexample,AidtoArtisans(Hnatow,2009)helpslocalartisancommunitybuilditscompetenceforPositiondeveloamarket-readyproduct,fromdesignmentoringtotechnicalupgrading,andalsoexploringflat-teneddistributionchannelkeeintunewiththecustomerneeds.ItalsoprovidessomeglobaltrainingfromtoAfrica.Becauseofthediversityofcraftsdevelopment,localcommunity’sknowledgebackgroundandmarkets’risk,itrequiresmoreinvolvementfromthemoderndesignexpertise.Designersshouldbeconsideredasthemessengerofcustomizedneeds,thetriggerofaglocalproductioneco-systemandthegatekeeperinculturalcommunicationbetweencraftspeopleandcustomer,andalsoneedworkwithcraftspeopletogethertofindabalancebetweenlocaleconomicdevelopmentandculturalsustainability.Othersemployedparticipatorydesignmethodstoexplorethecollaborationbetweencraftspeopleanddesigners.ThesemethodsstartedfromScandinavia.Forthelastsixdecadesitgrewinrecentuser-centereddesign(UCD)trend.Sandersel.(2008)usedtheno-tionco-designandco-creationtodescribethecollaborationcloselybetweendesignersandusers,andyzedthechangingoftherolesindesignprocess.Latersomepractice-ledresearchersex-ploredtheco-creationpossibilityincraftrevivals,includedtheGo-Globalprojectinitiatedin200(Barkerel.,2009),thecultural-orientedproductdesignwithhuman-centereddesignmethodsinBotswana(Moalosi,2007),thenewsustainablemodeforthebamboocanopycraftoftheKotwaliacommunity(Reubens,2010),theprac-ticeinBangchaocha’sbamboobasketrycraftsinThailand(Chuenru-deemolel.,2012),andthecraft-designcollaborationsinrevitalizingrush-weavingcraftin(Tung,2012)etc.Beyondcultureprobeandethnographicresearch,designerscollaboratedwiththelocalcommunityforsocialinnovation,deliveredbreakthroughproductsfordifferentmarkets,andextendednewdistributionchannelslikemerceContrastedwithco-designinmodernindustries,thecollaborationherefocusesmoreoncraftspeoplethannormalusers.Becauseofthemultiplerolesofcraftspeople,includingcreators,producersandeventhefirstuserofthesecrafts,theyhaveaper-ceptualunderstandingoflocalneedsandbettercreativesensethanothers.Itispreferabletousethetermco-creationthanco-designbecausethecollaborationbetweendesignersandcraftspeoplearenotonlylimitedindesignstagebutalsoincludesexperimentinginnewmaterials,techniquesandproduction,whichcoveredalmostfactsofnewproductCasestudy:GaemlThecaseGaemlbrocade(Figure2)isatypicalexampleinre-centChineseethnicbrocadeindustry.ItisoneofethnicweavingartfashionedbyasouthwesternChineseminoritycommunityKam(inChinesecalled prising3millionpopulation),andalsodis-tributedinSoutheastAsiawiththeethnographicmigration.Inthe-lastonethousandyears,Gaemlbrocadeisthemainclothandfab-ricmaterialforlocalpeople.MostKamwomenlearntweavingskillsfromtheirmothersorgrandmothers,producedalworkswithhome-madelooms,anduseditasamainclothandlow-costdecora-tivematerialslikescarves,robestobaby-straps.AnotherreasonwhyGaemlbrocadecouldsurviveisthattheKampeoplehavetheirownlanguagebutdonothaveanyscriptortext.TheythereforeusedtheGaemlbrocadetorecordfolkbeliefsandtherebysustainedtheirownhistorywithmeaningfulsymbols,patternsandlayouts,whichisnarrativeandexpressiveformofart.GaemlbrocadenowisoneofthenationalintangibleculturalheritageinChina,andoneoftheeightmostfamousChinesebrocades,exportedtooversea.FigureTraditionalGaemlbrocadecrafts.Source:photobyYang

ahierarchalunitbasedonlocationandkinship.Therearetypically3levels,masters,professionalsandpart-timeparticipators.Normallyoneworkshoponlyhas1~2masterswhocontrolallissues.Amastercouldretainhis/herleadershipstatusnotonlybyexcellentweav-ingskills,butalsowithapprenticeship,socialstatus,creativethink-ingandevenbypossessingagoodmarkese.Sotheroleofamasterismorelikeacombinationofachiefdesigner,aproductmanagerandabusinessdeveloper.HoweverGaemlbrocadehasbeenfacingcrisisinrecentyears.WiththeprogressoftheChineseeconomyandthesubsequentmo-tivationtojointhemodernindustries,moreandmoreruralyouthprefertoworkinmodernfactoriesandliveintheurbanareasasmigrantworkers.Eventheyouthsintheirhometownprefertoei-therstartsmallventuresorstartupamicro-enterprise.Theremain-ingothersengagethemselvesfarmingbutnotmanygoforGaemlbrocade.WeavingGaemlbrocadebyhandsisconsideredasalow-profitjobandnowdeemedasanout-of-datecustom.ThelackofskilledGaemlweavershas eabrutaltruth.Inmarkets,becauseoftheabundanceofplentymachine-madeclothingandcommoditiesfromcities,localcustomerspre-fercheapermassproductsratherthantraditionalhandmadeworks.Forexample,ahandmadescarfneeds15~20workdaysbyaskillfulweaver.Itwouldcost90~160euro(theaveragesalaryisabout6~8euroeachdayinlocal).Butlocalpeoplefinditmoreaffordabletobuyascarfwith5~8euromadebymodernjacquardmachine,man-ufacturedfromChinesefactoriesincoastalareas.Anotherfactorabouttheshiftincustomers’choiceistheimpactofthemodernme-diawhichdemonstratefashiontrendonactorswearmodernbrand-edclothing.HeretheoldGaemlbrocadestylecannotrepresentthenewlifestylethatyoungpeoplelookforward.AlthoughsomecraftsworkshopcouldtrytosustaintraditionalGaemlbrocadewithrecenttourismgrowthandernmentfundingsupport,mostGaemlbrocadesouvenirssoldintouristbazaarbearaverysimilarlookandareoflow-quality,thatreflectthelackofdesigninvolvement(Figure3).Someareevenmadebyoutsidefactoriesinlargevolumes,pricedatcheapratesandshippedtolocalbazaarforattractingtourists,whichactuallyhitstheoriginalhandmadecrafts.OnlyahandfuloflocalartisanscouldcontinuetheauthenticGaemlbrocadecreationcustomizedforculturalcollectors.ThehierarchyofcraftspeopleanddiversityofmarketsTraditionalGaemlbrocadeisquitetime-consumingbecauseofitselaboratedjacquardandembroiderytechnique.Soitsproductionisusuallyorganizedinseparatedcraftworkshops(Figure4).Ineachworkshop,theaveragemembersareabout30~50people,with

Figure3EarlyGaemlbrocadesouvenirssoldintouristSource:photobyYangAfterconductingasurveywefoundthatmostmastersnowseldomweavetheirworks,butspendmoretimeonbusinessandmanagement.Professionals,whoareskillfultosustainpromisedproductioninbothtyandquality,arethebackboneforawork-shop.Theycouldkeepmostclassicalpatternsandlayoutsintheirmindandweavethemefficientlyevenwithoutreference.Theycouldgetareasonable ebasedontheirskill.Thesignificantdif-ferencebetweenmastersandprofessionalsarenottheweavingskill,butthesenseofmarketandproductcreation.Thatiswhyonlythemastercouldaffordto eachannelwithoutsidemarketsanddecision-maker.Theothersub-group,part-timeparticipators,aretemporarilybasedondeals.Theyparticipateintheworkshopmainlybecauseofneighborhoodorkinship.Sometimesthey ethepilotuserofproducttrials.These3levelshavetheirdifferentmean-ingsforGaemlbrocadecreation.Mastersarecreativeandeasytocollaborate.Professionalscouldimproveproductiontechnicallyandkeepthequality.Participatorscouldpresentawidefeedbackfrombothuserandproducer.Figure4ThesocialnetworkoflocalProductsfromthecraftworkshopscouldbeusuallydistributedtodifferentmarkets(Figure5).Gaemlbrocade,justlikeothertradi-tionalcrafts,firstlyhasitsfunctionalandmaterialmeaningforlocalcommunity’sdailyneeds.Evennowlocalyouthprefermass-pro-ductionsubstituteindailyusage,otherseniorpeoplecouldchooseGaemlbrocadecommoditiesowingtotheirculturalidentity,espe-ciallyinweddingsandfestivals.Butindeliverables,afewmastershavethecompetencetoexplorenewproductcategoriesandcreatenetternstomatchlocalcustomersdeveloneeds,which ethebottleneckinlocalcommoditiesupgrade.Alsomostmas-tersareeithermiddle-agedorelderly.Theiralstyleshowninproductcreationisnotsoappealingforlocalyouth’staste.Sointhismarketsegment,craftworkshopsneedmoderndesigninvolvementtohelpGaemlbrocademakeacomebacktothelocalyouth’sdailylife,andalsousetechnicalapproachtoimproveproductquality,controlproductionFigure5ThediversityofcraftAnotherimportantmarketsegmentisthedomesticmarketsmainlyfortourist.Kampeoplefamousfortheircomplexwoodenarchitectureandtraditionalmusicalperformance.Withtherapidde-velopmentinrecentyears,alargenumberofdomestictouristshavebeenvisitingKam’sregion,andcontributeddramaticallytothelocaleconomywiththeirconsumption.Inthissegment,thecraftcommunityneedadeeperunderstandingoftourist’sneeds,anden-richthecategoryofsouvenirbeyondproducingthecopiesofseveraloldpatterns.Butmostcraftspeoplelackthesenseonwhatthetour-istswanttotakebackhomefromsuchaculturerichregion?Whichstyleisauthenticandiconicintheireyes?Howmuchisareasonablepriceforsuchproducts?Basedonasimilarbackground,designerscouldhaveabroaderunderstandinginit,andfindshiningpointsfromlocalculturewhiayhavebeenignoredbyaborigines.De-signerscouldcontributemoretowardspackagingandbrandingwithmoderndesignexpertise,whichincreasetheadditionalvalueoflo-calhandmadeworks.Additionallyanothersalechannelfortraditionallyinspiredart-workistheglobalmarketforculturalcollectorswhichincludetherichclassinChinaandoverseas.Itmaybementionedthatthisseg-mentmainlydependsonthemaster’salconnection.Forexample,oneofthemastersSuTianmei,officiallyentitledastheGaemlbrocadeskillinheritor,hashadmorechancestopromoteherworkinsomeinternationalexhibitionsandbuildawidenetworkwithglobalcollectors.Intherecentyears,shealsoclaimedtohavebeenaskedbysomecustomersforinclusionofmodernstyleorfashionelementsinherworksbesidesstickingreligiouslytotheclassicalpatterns.Sothe50-years-oldmasterhasdisplayedhereagernessincollaboratingwithyoungmoderndesignerstocreatesomefreshideastoherworks,tryingoutnewmaterialsandcolors,ortailoringitinnewways.Thisbringsouttherelevanceneedsformoderndesigninvolvementindifferentmarkets.Designer’spotion:fromdistributor,productmanagertoco-creatorReviewingthedesigninvolvementinGaemlbrocade,itisatypicalcaseofcraftdevelopmentinemergingmarkets.Theinitiateddesigninvolvementbeganmorethan10yearsago.Thefirstgenera

tionoflocalmigrantsworkingintheurbanfactoriesinthe1990s,camebacktotheirhometownswithacommercialsenseandsomesavings.Someoftheminvestedfundstorecoverseveralcraftworkshops,andplannedtoproducetheGaembrocadeformarketsculturallymotivated.Butbecauseoflowliteracyandlackofprofes-sionalraining,theysimplyfollowedoldpatternsandhardtoimprovestyleandquality.However,eventhat,traditionalGaemlbrocadewithitsuniquepatternandethnicstylehasitssellingpotentialforurbanpeopleevenforwhomthelevelofitsusabilityisverylimited.Sotheseworkshopownersemployeddesignerstobrandandpackageoriginalworks,andsometimesusedesigner’ssocialconnectiontopromotetheproducts.Thiskindofcraft-designcollaboration(Fig-ure6A)iscalledasdistributormodelwherethedesigneronlyworkonmarketingissuesafterproductionbutdonotparticipateinthecraft’screationpart.Thecollaborationbetweencraftspeopleanddesignersislimitedwithouttoomuchoverlap.Designersdonotinvolveinthesetraditionsandcoreproduction.Forthem,itisjustoneoftraditionalcraftswhichneedtobewrappedupforFigure6DifferentmodelsofdesigninvolvementincraftFigure7PackageandbranddesignofearlyGaemlSource:photobyYangcialpurpose(Figure7).Itisacraftsmenorworkshopownerdrivenmodel.Itsdisadvantageisobviousasitquicklyfacesproblemsre-latingtocontinuousproductdevelopmentandlackofcoordinationwiththemarketfeedback.Followingthegrowthofdomesticculturalandcreativeindustry,Gaemlbrocadehasdisplayedbothculturalandcommercialvaluesinthemarkets.Anotheroutsourcinghandsmodelemergedlater(Figure6B)Designerappliedthecraft’sclassicalelementsinhis/hercreationwiththeirbrands,thenproduceitwithlocalworkshops.Craftspeopleareconsideredmoreashandmadeproductionre-sourcesthancultureinheritorsandcreationcontributorsandcrea-tioncontributors.Itisadesignerdrivenmodelthathe/shemoreaproductmanagercontrolsthewholeprocessfromproductplan-ningtoqualitycontrol,andthenoutsourcesthework.Thismodelhasitssuccessinnewbranddevelopmentandcross-culturalinnovationinoutsidemarkets,especiallytaggedwiththelogooffamousdesign-ersandartists(Figure8).Inthismodel,thecraftspeopledonotfindanyspaceinthedesigner’screationstage,whichusuallyhappensinmoderndesignstudios.AninterestingphenomenonfollowingthismodelisthatlocalcraftspeopleweaveGaemlbrocadeeveryday,buttheydonotuseitintheirdailylifeanymore.Anotherchallengeisthathandmadeproductsarenowfacingtheimpactofmass-productionfactories.Moreandmoreproductscompleteitswholeproductionprocessoutsidewithoutanylinkwiththelocalcommunity.Gaemlbrocadeislosingitsnarrative,expressiveandculturalmeaningsfor