論設計博物館之文化價值模型建構研究

Abstract

設計成為博物館的主題，在20世紀接近尾聲的時候崛起，併著當代創意產業的發展從西方到東方持續蔓延與茁壯。「設計」在實務上一向是商業體系中的一環，在文化理論上也常與消費多有關連。一個經濟價值含量高的領域在博物館機構運作中要如何被轉化成為文化發展的力量，是一個有趣的探討主題。

本研究藉由花建與David Throsby對同心圓理論模式的理解與特徵：1.其核心層皆強調原創性這個特質，2.圈層的解釋方式帶有上下游價值鏈的概念，重視上下游的互動與回饋等，以此應用於設計博物館功能運作價值鏈的探討；再加上John Holden所提出的文化價值概念：文化傳承(culture experience)、文化實踐(culture practice)、文化認同(culture identity)等文化價值三面向，綜整進行設計博物館功能運作與文化價值理論的交叉探討。以質化研究中的個案研究為方法，從本研究所蒐集到的四十多個設計博物館中進行分類探討，從分類探討中定義出五種設計博物館類型，有「設計綜合型｣、「設計文化型｣、「設計專業型｣、「設計企業型｣、「設計個人型｣等。然為因應研究時程與訪談實際操作，統整為「設計複合型｣與「設計主題型｣兩大類，並從中選出共八個個案進行實地訪視與訪談，以研究設計博物館於1.收藏/研究、2.展覽/推廣、3.教育/創新、4.商業化加值、5.與在地互動等面向的文化價值取向。

經研究訪談的歸納整理後，本研究提出新的文化價值模型理論，採取兩段式的論述方式，第一段以雷達圖表現個案博物館對應1.收藏/研究、2.展覽/推廣、3.教育/創新、4.商業化加值、5.與在地互動等面向，作為評量博物館功能價值鏈的表現依據；第二段論述採用直角坐標系的象限圖來呈現個案博物館於文化價值及與在地互動間的表現，得出四個象限的結果，高文化價值+高在地互動(象限一)、低文化價值+高在地互動(象限二)、低文化價值+低在地互動(象限三)、高文化價值+低在地互動(象限四)。從個案設計博物館象限圖進一步分析八個個案館所可得出設計博物館文化價值三大特徵類型，「文化價值在地化｣、「文化價值全球化｣及「文化價值品牌化｣，因此新的模型可針對個案博物館的不同發展面向呈現出具有動態特質且不同的形態表現。

此外，研究結果亦總結設計博物館的文化價值易彰顯於典藏與展覽；但多數個案博物館與在地設計資源的互動性低；設計博物館商店及商業化加值開發面向與文化價值無高度相關性，而且館所不因”設計”主題的商業性質，讓設計博物館於商業化操作上的具有特出差異；建築的創新策略有助於博物館品牌營運策略；設計博物館應發展有特色的策展與展示策略，以區隔其與藝術類或歷史類博物館的差異。

本研究建議若台灣若發展一座設計博物館，可大量透過非正規的教育活動補強正規教育體制中對設計學習的不足，是學生們學習生活美學的重要管道；台灣的設計產業應要借重博物館作為文化推廣單位的優勢，創造出設計產業文化化的價值，彰顯台灣設計的文化話語權。可借鏡「設計主題型」的特色，透過有效的經營管理與商業策略，發展消費文化化與國際化策略；若從台灣現有的美術館或博物館資源來看，應該先落實「文化價值在地化」，創造出言之有物的在地的觀點(包含對應台灣設計於世界設計的位置)與不可取代的特色，再進一步發展「文化價值全球化」為目標。Design emerged as a museum theme toward the end of the 20th century and flourishes as the contemporary creative industry expands eastward from Western countries. Not only has design long been an integral part of commerce practice-wise, but it is also frequently associated with consumption in cultural theories. That explains why transforming design, a discipline with a high economic value, into an impetus for cultural development during a museum’s organizational functioning process, is an interesting topic.

The characteristics of the concentric circles model, as perceived by Hua Jian and David Throsby, are: 1. the cores of concentric circles invariably suggest an emphasis on originality; 2. the interpretations of concentric layers are inspired by the notion of value chain, with a particular focus on interactions/feedback up and down that chain. Based on the two characteristics, this study explored the value chain in design museums’ functioning process, and then integrated the three perspectives of cultural values put forth by John Holden (i.e. culture experience, culture practices and culture identity) for a cross-examination of design museums’ functions and cultural value theories. Employing the case study method, which is a qualitative research approach, this study examined the classification of 40-odd design museums to identify five categories of design museums, defined respectively as “comprehensive design museums”, “general design museums”, “professional design museums”, “corporate design museums” and “individual design museums”, which were then merged into two categories, “composite design museums” and “themed design museums”, due to the research schedule and actual interviewing process. In the case study part of this study, eight museums were selected from the two categories for field surveys/interviews in order to explore the five dimensions of design museums’ cultural value orientations: 1. collection/research; 2. exhibitions/promotion; 3. education/innovation; 4. value-added commercial activities; and 5. interactions with the local community.

Through the analysis of interviews and surveys, this study presents a new theoretical model of cultural values and addresses it using a dual approach: firstly, a radar chart showed the five criteria of a post-interview value chain assessment for the eight museums examined: 1. collection/research; 2. exhibitions/promotion; 3. education/innovation; 4. value-added commercial activities; and 5. interactions with the local community. Secondly, the eight museums’ cultural values and levels of interactions with local community were illustrated in a four-quadrant Cartesian coordinate graph where Quadrant I connotes a combination of high cultural value and high-level interactions with the local community; Quadrant II a combination of low cultural value and high-level interactions with the local community; Quadrant III, low cultural value and low-level interactions with the local community; and Quadrant IV, high cultural value and low-level interactions with the local community. By further analyzing the eight design museums’ Cartesian coordinate graphs, this study’s author divided their cultural values into three types: “localized cultural values”, “globalized cultural values” and “branded cultural-values”. This new theoretical model underscores the eight museums’ dynamic qualities and varying forms from different development perspectives.

Besides, major findings from this study are: design museums’ cultural values tend to be reflected through collections/exhibitions; most of the eight museums examined had low-level interactions with their local design community and resources; design museums’ shops and value-added commercial activities were not significantly correlated to their cultural values, and the commercial nature of “design” did not cause any significant difference in reflecting museum’s commercial functions; a strategically innovative architectural design is conducive to the museum’s branding strategy; and each design museum should develop a distinctive curatorial and display strategy to differentiate between arts- and history-oriented venues.

This study suggests that a well-functioned design museum project should be developed in Taiwan. The museum education programs can strengthen the insufficiency of design education in K-12 school system to become an important channel of learning aesthetics of life. Design industry in Taiwan can count on the design museum’s cultural advantages for bringing culture into industry and raising the communication power of Taiwan design culture. Furthermore, a design museum project can be advised to adopt the pattern of “themed design museums” to develop a consumption culture and international brand strategies through effective museum management and business model. Considering Taiwan’s existing fine art museums or museum resources, it is recommended that these museums should give top priority to “localized cultural values” for Taiwan design industry, and present a substantive statement of localization (which involves the position of Taiwanese designs in the global design industry) and their irreplaceable qualities before fostering “globalized cultural values” as a goal.