文物典藏到文創產品的價值創造—以故宮與頑石合作案為例

Turning Cultural Heritage into Cultural and Creative Products: A Case Study of Value Creation Out of Cultural Artifacts Collaborated between the National Palace Museum and the Bright Ideas Design, Co. Ltd

10.6182/jlis.2016.14(1).115

陳蕙芬(Hui-Fen Chen)；楊燕枝(Yann-Jy Yang)

文化創意產品 ； 價值創造 ； 數位典藏 ； 價值鏈 ； 故宮博物院 ； Cultural and Creative Products ； Value Creation ； Digital Content ； Value Chain ； National Palace Museum

圖書資訊學刊

14卷1期（2016 / 06 / 01）

115 - 149

繁體中文

本文旨在解析從文物典藏到文創產品間的價值創造。本研究選擇頑石創意與故宮合作的兩個代表性案例作為研究對象，透過文物典藏與文創產業的定義、文創產業的本質、價值創造的理論概念，來探討文物典藏發展成文創產品的挑戰，進而推導出文創產品價值創造的架構。再針對案例進行資料搜集與分析，以探討文創產品價值活動的內涵。本文採用質性個案研究法，對故宮與頑石進行相關工作人員深度訪談與次級文件資料的搜集與分析。本研究發現，文創產品的價值活動可分為兩個進行階段：文化創意發想與文化創意具體化，各階段下均可分為兩大構面，分別是符號與體驗。在發想階段，重點包括符號的萃取與體驗的設計；在具體化階段，重點包括符號的再製或轉換，與體驗的鋪陳。本研究同時發現能承繼文化內涵，並能成功切入現代生活脈絡的價值活動，應有跨世代、跨形式與跨文化等三種效果，以化解文創產品進行市場化的三大挑戰：時空差距、符旨理解與族群配對。本研究發現數位典藏僅是文物價值再創的起點，業者必須在符號與體驗上構思價值創造策略。

This paper analysed the value creation activities of cultural and creative products developed from cultural heritage. It employed the case study methodology to examine two collaboration projects between the Bright Ideas Design, Co. Ltd. and National Palace Museum. A framework was developed based on the review of the relevant literature on cultural products, value creation and digital content. Research data included information obtained from semi-structured interviews and secondary sources. The findings suggest that there are two stages and two dimensions in the value creation activities of culture-creative products. The stages include the generation of design ideas as well as the substantiation of creativity. In each stage, the designers must take the dimensions of symbol instantiation as well as user experiences into account. In the first stage of idea generation, the key points were the decoding and extraction of cultural symbols, which were then turned into designs that trigger new experiences. In the second stage of substantiation of creativity, the major tasks were the reshaping of the cultural symbols and the integration of the transformed symbols into design that meets expected experiences. The collaboration projects have produced trifold effects which addressed cross the gaps caused by different generations, forms and cultures. The analysis and the findings of this paper may shed lights on the future cultural and creative productions between memory organizations and collaborating designers.

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