新通道产品-2011-2017书稿2014newchannel web附录花瑶花暑期工作营成员名单

2014新通道·花瑶花DESIGN&SOCILALINNOVATIONSUMMERCAMP教育部工业设计教学指导 教授博导湖南大学设计艺术学院副院长，教育部工业设计教学指导 安晟喜：湖南大学设计艺术学院教师、英国布鲁内尔大学博士赵恩智：湖南大学设计艺术学院教师、米兰理工大学博士Mohsen:湖南大学设计艺术学院教师、IIT博士要文瑾：湖南大学设计艺术学院教师、张朵朵：湖南大学设计艺术学院教师、：湖南大学设计艺术学院教师、千叶大学博士张军：湖南大学设计艺术学院教师、博士侯谢：湖南大学设计艺术学院教师马颖彬：湖南大学设计艺术学院教师：

梁盯：教授理工大学生活形态研究 国际设计与商业管理课程:AUYEUNGAlanKaronTONGChungMan,JesicSHAHCharulUmeshDuanYe,ZHANGShunying,SunnieLIUTing,AnnaLINChihao,ACERODURANAasoMaaLIUMai,JasonTANJunting,叶甫纳：艺术家任教于美术学院实验艺术系，毕业于英国圣马丁实验艺术系郭城 任教于同济大学同济中芬中心艺科实室毕业于英国艺术学院产品设计安家乐：担任Celine的自由设计师，毕业于英国圣马丁时装魏代维科技大学易 李仕 华东理工大学黄 张理蔡志文：杨媛媛：：湖南省工业设计时尚设计总监、米兰理工大学博士 湖南省工业设计视觉设计总监、米兰理工大学博士 资深音乐 湖南省工业设计创新平台产品设计师 湖南省工业设计创新平台平面设计

廖勤樱：微软志愿设计师： 刘忠华罗 邓晓针对通道这样一个具“独特的自然生态环境与丰富的非物质文化遗产但经济发展的少数民族地区整合不同专业和学科的优势通过合理的村镇规划、生态旅游开发、信息与物流网络建设、产品与服务系统整合、非物质文化遗产保护等综合的工作方法，建立一个 计创新和基于网络的在保持当地居民和谐生活形态的前提下，通过设计使这些地区凭借文化优势和资源特点获得发展机遇，是农村社区社会创新的目标参与式的促进当地居民的文化自主意识和产、2014新通花瑶花设与社会创新项目是由美克美家发由湖南大学 理工大学等单位联合开展的跨学科联合设与社会创新活从2014年7月初到8月项目组的59名师美克美家专业社会工作者 以湖南省隆回县虎形山乡崇木凼和通道县坪坦横岭村为营以周边地主要是花瑶与侗的民族工艺为重点研究对，通过对非物质化遗产影像记工业设计等综合（ 方，围绕保护当地居民的化生态和社会资激活当地居民的创新意识和产业发展等角通过向手工艺传人学组织当地儿童和居民共同创作等方探索非遗文化的数字化保护与 方开发出一批具有典型文化特面向国际市符合现 活需要的数字化产品以及文化创意商探索基于网络可持开放的化发展和商业支撑的模，为传统化的保护创新及 提供设计支。、

2014新通花瑶花设计与社会创新项目三期是由美克美（MHF）主办，湖南大学（HNU）及 理工大学（PolyU）等单位共同组织，PolyU团队是以 理工大学设计艺术学院的梁町教授与10名在读、、、所组成，具有很强的设计能力与社会创新能力。湖南大学的团队以设计艺术学院何人可、安晟喜、Mohsen、张朵朵、要文瑾Luigi、赵恩智等分别来自中国、韩国、意大利等国家从事生构成。整个团队成员中包含了11位博士、23位和来自微软、、、、此次项目团队根据需要被划分成为四个大组:Deigforthinking乡村社区研究）、Deiforheritage（为传统文化而设计）、Dforhappines为感而设计）、DeiforBusines商业模式设计Deiforheritage（为传统文化而设计包括三个小组：和当地居民的模式进行了研究和探索。Designforthinking乡村社区研究小 与工业化，探索乡村的文化资本与手工的价值。系统下城乡互动的过以文化创新和设计参与为导向的“乡村生活方式”的价值体系。社区研究组对横岭及隆回等地进行了半个月的田野，通过深入当地用户访谈和走访观察，绘制了自然人文资源地图并以虚构的一个家庭的故事串联起当地居民的生存形态和生活点滴将原本纷繁复杂的研究数据以趣味横生的形式表现出来，成为其他组别 与产品设计的基础。社区研究组-本地资HenglingHenglingbagDecorationt98Dcintervieweeintervieweeinterviewee2intervieweeintervieweeintervieweeinterviewee2intervieweeinterviewee3intervieweeinterviewee4intervieweeinterviewee5interviewee7interviewee1Ageofintervewees’family Primaryfamilymemberlivinginnumberoffamilyfamilymemberlivingoutside(excludingshopweavingDongvicevillage1234+husband,1234+husband,Secondary

社区研究组-地区居民基本情况调查PREFERENCEPREFERENCETOWOODENwarmerinwinterandcoolerinsummer.LOCALWISHTOPROMOTELIMITEDFARMERS&INFERTILECARPENTER’SIlearnedwoodworking16yearsold.TOTHEIRLIFETRADITIONSOFBROCADEOFRespecttheeldersLeft-behindFondtomarrylocalStaytogetherafterTOStrongwishtocomebackhoandstaywithfamiliesNeedsfor NeedsforCommunity“Nomatteritissummerortothisdrumtower.Inwinter,everyonebringsrewoodandpeoplemakereandkeepwarm

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“Inhard-workingday,wewouldliketoinviteothervil-lage’speopletocometomyhousefordinner,reltives,friends,evenstrangers.”“Wehavedierentteams,likeLusheng(alocalinstrument)team,文化与产业发展基Designforheritage为传统文化而设计是基于对地方资源与社会资产特色了解的基础之上“可持续的社会创新为目标通过合理的“组织设计”和“知识平台”构建方法将丰厚的文化资产转化为生产（包含产品视觉、环境、服务）和社区的可持续创新能力。设计师团队通过参与式的工作方法与当地居民进行互动一方面增进他们的对本地文化的自豪感增强社区凝聚力另一方面使设计师、当地居民手工艺人之间的知识能够得到共享促进深度创新的 设计与当地潜在从业自然资源结合进行 侗锦设计小组是以米兰理工服装设计博士Luigi为主的团以侗族独特的织锦花瑶挑花为依托完成了客制化设品“梭”的品牌策产业模型和产品研发进侗锦组“穿出你的故事细说她们的故事“行人的故事为品牌进一步 “梭品牌客制化图纹信化民俗旅游三方向的产品规同还展“梭品牌的 产并将在诸多国际设计与时尚展中进行跟 次的品牌推瑶挑花图案中提取元素，通过整合分析，分别以侗锦组从花瑶及通道的传统特色花纹极具现代感的新纹样。利用当地人废弃的竹篓与木质窗框，进行二次设计之后成为一个简易的储蓄便捷性。衣架挂钩的部分采用侗族建筑榫卯结构中常出现的鸟了通道侗族建筑的风格特征

【鸟.地灯】地灯的材料由回收的废弃物改造而成，底座和支架的大木块和枝干拾自侗寨周围的环山，做灯罩的鸟笼从居民家中的杂物堆中淘来。藤条编织的鸟笼，造型饱满，岁月打磨的痕迹更为其增添了一份质朴，木材处理部分对自然形态的尊重成就了其独一无二的造型。灯具制作所用的材料均为旧物利用上部的灯罩为侗族居民日常生活所带斗笠经简单弯曲制作而成下半部分则是由捡拾的树枝进行简单的抛光打磨后直接应用保留了侗寨原汁原味的侗族 和人文情怀。【鸟.躺椅】【鸟.躺椅】躺椅的框架在完美的保留了侗族传统家具造型的同时融入了新的创新元素，躺椅的背部采用了一整块素锦，素锦上的凤鸟纹与衣架上的鸟头造型完美的呼应，竹木材料与织锦的搭配，表现了鸟椅的刚与柔美。影像影像组以完成通道县当地民俗文化为主的片为主，其中主要拍摄任务为新通道项目进程，以及对通道及隆回非物质文化遗产的数字化及保护。同时记录通道县各个侗寨的本色风景，更为大家展示了影像组针对侗乡的传统文化、人文进行的视角记录下侗族人民巧夺天工的智慧。期采访小组了解项目进程随时随地记录小组动态实况工作营项目进展的点点滴滴。自行搭配穿戴从而构成影像的原始素材。影片充分体现侗家人与众不同的民族。9，家庭情况 在， 吃西瓜、当鱼、爬树养狗吴婄老65岁但是带小孩子做不 ：左杨贺哥哥 弟：6横岭小学学前班蒙悦8：、家庭情况叔叔舅舅在外工作：、：：64岁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