Z E R O
Connec ting Back to Culture, Nature and Home. Blue Calico Experience Center
A R e n o v a t i o n f o r E r j i a D y e Fa c t o r y
SI SI ZHAN G I N T D 5 0 0 1 | S E NIOR CA PSTONE | SUMMER 2017
Ta b l e o f C o n t e n t s 01
In t rodu ct ion
02
Backgrou n d
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S it e A n alys is
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Tre n ds
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Pre ce de n t s A n alys is
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U s e r Ove rvie w
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Con ce pt s an d De s ign Prin ciple s
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S ou rce s & A ppe n dix
The Blue Calico Experience Center: Background
Home Ci t y Cr af t : T he Blue C alico This picture shows my first impression about Nantong Erjia Dye Factor y in Summer, 2015. Numerous of blue calico fabric were hanging in the rope, and swing by the wind. I was surprised by the beauty from this simple fabric. However, af ter visiting the Erjia Dye factor y, I found the factor y not to be as beautiful as the blue calico fabric. Less and less people are paying at tention to the craf t of making the blue calico, and as a result the factor y and craf t is in crisis. For me, I believe the craf t in making the blue calico fabric is wor th being preser ved and elevated as a valuable craf t. For this reason I wanted to contribute to its preser vation.
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Zero: Connecting Back to Culture, Nature and Home
01 INTRODUCTION
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The Blue Calico Experience Center: Introduction
Ra t ionale This project is aimed to renovate the Erjia Dye Factory. To focus on illustrating the beauty of this local craft - blue calico I am proposing a center where people can experience the making of the blue calico fabric. The factory itself will maintain it’s function and include other programs such as a showroom, craft making area, restaurant and hotel. This blue calico experience center links craftsmen, artists and visitors together through deep participation, communication and experience. I hope this project can help more people draw attention to the local craft and culture around the blue calico fabric.
Scope This project will covers the information, thoughts and ideas about this new experience center for blue calico. This includes background, site analysis, trends, precedent analysis, user analysis, user’s journey, concept and design principles. Main ideas and directions of the blue calico experience center will also be listed in this book.
Signi f ic ance This book analyzes the current situation of blue calico craft from cultural, social and economical perspectives. More and more people are on the way of noticing the value and importance of the crafts and culture, and so do I. I hope this book also contributes to the documentation of blue calico and local crafts, and more people will know and enjoy the beauty of blue calico after reading this book.
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Zero: Connecting Back to Culture, Nature and Home
02 BACKGROUND
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The Blue Calico Experience Center: Background
W h a t i s B l u e C a l i c o F a b r i c? His tor y Blue calico is a transitional hand-printed and hand-dye craft with more than 400 years history in Nantong, China. White fabric and tinctoria are the main materials that produce blue calico fabric, which were two common materials that every family had in the past. In the mid twentieth century, clothes, bags and bedding were made of blue calico fabric which were welcomed by local people. The Mandarin name for blue calico fabric is lan yin hua bu – indigo-printed flower cloth, a more poetic name that ties it firmly to its flower-based designs. The indigo dye used for the fabric comes from the tinctoria plant. The designs are made with the use of powdered soybean and lime that makes the resist paste that is then applied to hand cut paper stencils that have intricate patterns.
Examples of Blue Calico Pattern and Product
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Zero: Connecting Back to Culture, Nature and Home
Ma ter ials for Mak ing
Dye Tinctoria is used as main indigo dye in the making process of blue calico fabric. Tinctoria is a species of flowering plant in buckwheat family. Common names for tinctoria include Chinese indigo and Japanese indigo. It is native to Eastern Europe and Asia. Tinctoria was already in use as dye in Western Zhou period (ca. 1045-771 B.C.). which was the most important blue and indigo dye in East Asia.
Tinctoria
Extract of Natural Indigo
Cut the Pattern Board
Applying the Paste on Pattern Board
Making Paste
Making Paste
Pattern Pattern is one of the most important parts in the design of the blue calico fabric. Usually, plants and animals are the main prints in the design. Furthermore, craftsmen also design the patterns that based on folktale and legend. To meet the need of demand. It usually takes 3-20 days to cut one pattern board, which can only be used 30-40 times. The handmade pattern is very valuable.
Paste Paste is made of water, powdered soybean and lime. After applying the paste on the fabric, the dye or paint cannot get through, which leaves the original color under the paste.
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The Blue Calico Experience Center: Background
Bule C alico Fabr ic Mak ing Proces s
1
2
3
4
Making the indigo dye
Cutting the pattern
Preparing the fabric
Making the resist paste
5
6
7
8
Applying the paste
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Waiting to dry
Waiting to dry
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Removing the paste
Dying
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Washing the fabric
Dying
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Waiting to dry
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Zero: Connecting Back to Culture, Nature and Home
Nantong Erjia Dye Fac tor y: My Home Cit y Dye Fac tor y Bac kground Located in Erjia, Nantong, China, Nantong Erjia Dye Factory focuses on dying blue calico and other fabrics since 1954. In the past of sixty years huge development has been taking place in China socially and economically, as a result, great changes have appeared in people’s daily lives. While blue calico fabric bears the competition with the increasing number of choice that has come into the market, the role of blue calico fabric transforms from a daily life product into a from of art, craft, culture, and heritage. Now, Erjia Dye Factory is still working on design, make and produce blue calico fabric. It also releases new design on updated products that differs from the past.
View of Erjia Dye Factory 08
Erjia Dye Factory Thirty Years Anniversary
The Blue Calico Experience Center: Background
“Indigo Kirin” was the new brand that launched by Erjia Dye Factory few years ago. Main products including fabric, bags, bedding, and clothing made of blue calico. Erjia Dye Factory sells products mainly through their online website. Right now, Erjia Dye Factory tries very hard introducing new products into the market. Several international companies also contacted with Erjia Dye Factory and showed interests in the blue calico fabric. As a local resident, I feel so honored to have such wonderful crafts and culture, and I really hope its voice can been heard by more and more people. Erjia Dye Factory still keeps its own appearance which hasn’t changed in the last sixty years. There are eight main buildings with raw structure in the factory, which can only achieve the basic need of employees. Erjia Dye Factory is trying to create more designs and products, such as computer cases, new clothing styles and table linens. All the while seeking for an new opportunities to grow and change.
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Zero: Connecting Back to Culture, Nature and Home
S T EEP A nal y sis for Blue C alico Fabr ic in Er jia D ye Fac tor y
Social Factors • Right now, the main population who really cares about crafts and culture are the people who have strong connections with crafts and culture; for example, artists, craftsmen and art / craft lovers are concerned more about crafts and culture. • More and more families prefer their children to have art and culture related education and events in their school and after-school activities. • Culture is increasingly more important than before. • Because of the globalization a large amount of attention from other countries has been paid to our local crafts.
Technological Factors • Due to the development of the Internet, the voice of blue calico can be heard by a larger audience. People can also have more access to know about the blue calico. For example, online shop and online introduction really help people to understand the beauty of blue calico fabric. • Blue calico fabric is handmade, hand-printed, and hand-dyed, which is a traditional craft that is not dependent on current technology.
Economic Factors • The growing economies of China are likely to influence other economies around the world. In this way, Chinese crafts and culture also will be noticed and known by more people.
Environmental Factors • The main materials of blue calico grow and are made and produced locally, which will also continue in the future.
Political Factors • Because increasing number of attention has been paid on crafts and culture, the policies and plans that are beneficial to crafts and culture might be= introduced to public as well.
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The Blue Calico Experience Center: Background
Blue Calico is Impor tant, Because... For craftsmen, it not only represents work, task and efforts of themselves; but it also means life, art and crafts.
For people, it not only represents a simple fabric,
but it also names a memory and a section of history.
For society, it not only represents a form of product,
but it also determines a part of culture and spirit.
For me, blue calico is an impression of treasure,
and it should be treated in a better way.
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Zero: Connecting Back to Culture, Nature and Home
03 SITE A N A LY S I S
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The Blue Calico Experience Center: Site Analysis
Site Location of Nantong Bac kground of Nantong Ci t y Nantong is a prefacture-level city in Jiangsu province, China. It is located in the northern bank of the Yangtze River. Nantong is a vital river port bordering Yancheng to the north, Taizhou to the west, Suzhou and Shanghai to the south across the river, and the East China Sea to the east. The population is above 7.3 million, and about 8544 km² (3300 SM) in area. Nearby cities includes Suzhou, Wuxi, Shanghai, Nanjing and Hangzhou. All these cities can get access to Nantong in 2-3 hours easily, which increases the number of the target group people.
Nantong City
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2-h ou rZ e
ou
on
3-h rZ on e
0
25
50
75 100 Km
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Zero: Connecting Back to Culture, Nature and Home
Site Location of Nantong Erjia Dye Fac tor y Bac kground of Er jia Town Erjia is a small town in Nantong. It takes about 40 minutes to get from City of Nantong to Erjia Town. Overall area is about 72 km², and the population is about 0.8 million in Erjia Town. Yuxi is a nearby town from Erjia, which is a historical town that will be transformed into a tourist town soon. In the part of transportation, several routes and highways link Erjia and other cities and towns together. Nantong Xingdong Airport is only 26 km away from Erjia.
Erjia Town
N Yuxi Town
30 Km, 40 minutes by car
0
14
2
4
6
8 Km
The Blue Calico Experience Center: Site Analysis
E xis ting Erjia Dye Fac tor y Mas ter Plan H
ng aila
Ro a
d
N
Entrance
Hailang Road 1
er
5
Riv
4 3
Ti a n
luo
sha
nR
oad
2
6 7 8
River 0
5
10
15
20 M
1. Office & Storage 2. Print Area & Storage 3. Storage 4. Water Tower 5. Storage & Leased 6. Lawn 7. Dying Area 8. Leased 15
Zero: Connecting Back to Culture, Nature and Home
Fac tor y Images N 1 2 4
5
3
6 7 8
Building 1
Building 2
Building 5
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Building 3
Building 7
Building 1
Building 4
The Blue Calico Experience Center: Site Analysis
SWOT Analysis Strengths: • Large site and enough buildings to select and redesign • Simple and raw structure that calls to renovate
Weakness and Issue: • • • •
Unsafe and rough working environment and facilities Lack of space organization Buildings are unkept Lack of program for employee and visitors
Opportunity: • Local people are willing to help and they have passion on craft and culture • The whole town and city is developing and creating more opportunities • The ease of transportation helps more people to access and get involved • Large number of potential visitors are in nearby cities
Threat: • More competitive neighboring cities that have more noted crafts, cultures and histories • Tough future of blue calico (need of financing fund, employment, design, also the industrialization changes the need and demand of blue calico) • Loss of a culture and craft.
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Zero: Connecting Back to Culture, Nature and Home
04 TRENDS
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The Blue Calico Experience Center: Trends
Key Wor d Mapping Transforming Personalization
Potential
Creative Crafts
Role Technology Buyer
Unique
Consumer
Craft
Tradition
Emotion & Empathy Value
Branding
Identity
Culture
Characteristic
Resources Change
Product Adaption Sustainability Responsibility
Globalization Ethical
Self
Consumption
Preservation Education
Improvement Labor
Maintenance
Participate
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Zero: Connecting Back to Culture, Nature and Home
Tr e n d 1: Rise of Creative Craf ts Dr i ver : Cr af t Mar ke t and Demand Consumer Shoppers are increasingly looking for unique goods that reflect their lifestyles, personalities and values. Over 63% of people are interest in buying a craft object.
Technology and Education Because of the development of technology and art related education, creative crafts is highly developing to meet the demand.
Awareness of Artists and Craftsmen Traditional craftsmen realized they have the ability of creating their own design and crafts. Also, thousands of opportunity are been provided to exercise their skill and creativity.
Unique Reach by emphasizing the uniqueness of craft pieces, craft businesses have the opportunity to extend current market, and to create new markets by connecting craft to niche lifestyles.
Attention A lot of attentions have been paid on these artists and craftsmen. More and more people can hear their voices and enjoy their works.
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The Blue Calico Experience Center: Trends
Mani fes t a t ion
“I am an artist, not a craftsman.” “My creations have the unique style and characteristic. For an excellent art work, it has to be reflected artist’s personal feeling, attitude and behavior. That is my creation aim.’ - Zanbin Peng, China
798 Art Zone Located in Beijing China, 798 Art Zone provides a place for creative crafts and art, which satisfies varied cultural and crafty needs for people.
Etsy Esty is an e-commerce website that focus on handmade or vintage items. It provides a platform for creative crafter to make, show and sell their arts and products.
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Zero: Connecting Back to Culture, Nature and Home
Tr e n d 2 : Preser vation of Culture Dr i ver : Cul t ure Direc t ion Importance of Culture and Identity “Contributing to how people see themselves and the groups with which they identify, culture is a defining feature of a person’s identity.” - Professor Greg Noble, University of Western Sydney
Negative Part of Globalization Under globalization, standard products and forms have been produced and made by certain companies and organizations, which overrides local traditions and culture.
Maintaining and Inheriting Culture has a strong identify in people’s lives. We can learn more about ourselves by keeping, maintaining, preserving and inheriting the original culture.
Learn from Others Each cultural group has its own depths and attitudes that others can benefit from. Understanding cultures will guide us overcome and prevent racial and ethnic divisions.
Adaption It is certain that various changes had been made during the past in culture. As a result, to take the cream, and discard the dross is the only appropriate way.
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The Blue Calico Experience Center: Trends
Mani fes t a t ion
The Crafts Council in UK The goal of The Crafts Council in UK is to make the UK the best place for artists, crafter and lovers to make, see, collect and learn about contemporary craft. It also provides community possibilities to view and learn more about culture.
UNESCO Office in Ramallah Invited by UNESCO Office, 14 young Palestinian artists volunteered to paint 18 paintings of Historical Palace in Gaza from various aspects to show the magnificence of the architectural heritage and the cultural value through a unique style.
“Heritage belongs to everyone� This campaign aims to raise awareness among the Central American region about the importance of protecting cultural heritage and fighting trafficking. It encourages the participation of youth to against the trafficking of cultural objects.
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Zero: Connecting Back to Culture, Nature and Home
Tr e n d 3 : Increase of Brand Set ting Dr i ver : Br anding De sign Value 40% people said they purchased a product because they liked the social or political values of the company that produced it.
Ethical Consumption 54% of Online consumers would be prepared to pay more for organic, environmentally friendly, or Fair Trade products.
Brand Design By setting up the new product and interior designs, more and more stores and businesses see the benefits of branding design.
Why Brand Important Brands are more important now than at any time in the past because brands are psychology and science brought together as a promise mark. It represents the culture and values of a company.
Not Only for Large Firms
Every business has its own branding, culture and values, whether the scale of it. Identifying the branding, culture and values helps clarify the status and identity of the firm.
Add More Points to the Branding Sustainability, natural, green, organic, environment friendly, caring for children and women... All of these points show the responsibilities of the firm and the positive influences in culture and society.
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The Blue Calico Experience Center: Trends
Mani fes t a t ion
Nala Cat @ Instagram Nala was adopted by her owner 5 years ago. Her owner started to post her pictures on Instagram and got I lot of followers. Because Nala is welcomed by people, a brand called Nala Cat was launched to help the homeless animals.
GAP Inc.: P.A.C.E. Changing One Million Lives The Gap Inc. PACE (Personal Advancement & Career Enhancement) program launched to teach the women who make GAP clothes critical skills for navigating life both at work and at home.
Kumamon: The Bear Who Earns billions Kumamon is the mascot of Kumamoto, Japan. Because of the occur of Kumamon, people’s impression of Kumamoto changed from a small and infamous town to a friendly and interesting city. Kumamon helps the local firms earn over 1 billion ever year.
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Zero: Connecting Back to Culture, Nature and Home
I n s i g h t s f r o m Tr e n d s
People are interest in uniqueness of crafts. They also would like to know more about where these arts from and how it create. The artists and craftsmen are increasingly pay attention on their own design and crafts. Culture helps people to know more about themselves and defining the identity. A lot of organizations and people are already in the groups of cultural preservation. Branding aims to identify the values and responsibilities of businesses.
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The Blue Calico Experience Center: How Might We Question
How might we revive the interest of crafts and culture of blue calico?
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Zero: Connecting Back to Culture, Nature and Home
05 PRECEDENTS A N A LY S I S
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The Blue Calico Experience Center: Precedents Analysis
Literature Review A r t Sur vey: Par t ic ipat ion, Percept ions and Prosp e c t s Houston Art Survey: Participation, Perceptions and Prospects (Klineberg, 2012) asked some artrelated questions to the general public and uncovered the experience of arts in people’s lives. In this survey, 1200 samples are been collected, which includes 50.3% male and 49.7% female in Houston area. In samples, 24.5% people are in 18-29 age groups, 22.7% people are in 30-44 age group, 23.4% people are in 45-59 age group, and 27.8% people are in 60-89 age group. Education level also been considered as a factor: there are 43.4% of people are in high school or less, 29.6% people have some college degrees, 17.8% people have college degrees, and 8.8% people have postgraduate degree. Though the sample of people is different from location of target people of this project, we can still find useful information from macro scale. Figure 1 indicates the most frequently favorite free-time activities. More than ten percent of people named some aspect of the arts as their favorite activities, with reference either to attending performance, museums or participating in creative activities. This was almost as many as watching TV, or reading, or getting together with friends and family. As a result, we can see people is considering art and art-related activities as an important part in their daily lives.
Figure 1. The most frequently mentioned favorite free-time activities Sports
17%
Watching TV
12.2%
Reading
11.3%
Social activities, with friends and family
11.3%
Arts (attending, performing, or creating)
10.3%
Exercise, working out
8.3%
Relaxing, napping
5.9%
Watching movies
5.2%
Spending time on a computer, tablet or smartphone
4.9%
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Zero: Connecting Back to Culture, Nature and Home
Figure 2. Reasons for Attending Arts or Cultural Events
To have an enjoyable experience
Major Reason Minor Reason
To meet up with friends of family
Not A Reason
To support a friend or family member involved in the performance
To support organization or event in the community
To have an educational experience either for yourself or your family
Everyone was talking about the event
Percent of Respondents
Figure 3. Reasons for Not Going Out More Often to Arts or Cultural Events Major Reason
The entry fee cost too much
Minor Reason
All the additional costs of going out
Not A Reason
Traffic or other transportation problems I prefer to do other things I don't have enough free time I rarely hear about the events Usually no one to go with I don't know enough to enjoy some of the arts events I don't feel comfortable at many of the arts events Many of the arts are boring
30
Percent of Respondents
The Blue Calico Experience Center: Precedents Analysis
Figure 4. Primary sources of information about arts events On the internet, smartphone Newspapers or magazines, press Television or radio
Friends and family Through social media In the mail, fl yers Billboards and signs
All the above Never look for such information Percent of Respondents
Figure 2 asks he respondents who had attended arts and culture everts performance during the past year about the reasons that led them to do so, and 88% of people indicate “wanted to have an enjoyable experience”, which really shows the people’s basic and simple want and need from the art events. Other options of “to meet up with friends of family”, “to support a friend or family member involved in the performance”, and “to support organization or event in the community”, are really close in percentage (52%, 52% and 53% respectively). In this degree, we can see people also attend art events because of social need. There are also 50% of people express that they attend these everts “to have an educational experience either for themselves or their family”, which evidence the importance of art-education in people’s minds. Figure 3, in the other way, collects the reasons why people do not often attend to arts and culture events. Top two answers demonstrate that spending of money is the biggest barrier which preventing people from art events. At the same time, responses also agree the quality of art work in local area. Primary sources of information about arts events were been shown in Figure 4. We can see people know the arts events information mainly through Internet, newspaper, magazines, TV and press.
People cares about arts and culture events; they are seeking better experience and lower cost in these events 31
Zero: Connecting Back to Culture, Nature and Home
Figure 5. The Importance of Arts Education in Schools Percent of Respondents
Strongly Agree Somewhat Agree Disagree
"Participation in arts is important for children"
“There should be more emphasis on the arts and music in the school today”
"Arts education for children is much less important than Math, History or Physics."
Percent of Respondents
Figure 6. Early exposure to the arts, by gender and education “What about when you were a child (under the age of 16)? Were you ever personally involved as a child with any of the arts or other creative activities?” Never Involved with the arts as a child Involved for two years or less Involved for more than two years
Total Sample 32
Male
Female
High school or less
Some college College degree Postgraduate
The Blue Calico Experience Center: Precedents Analysis
Figure 5 shows how people think about the importance of arts education in schools. It is obvious that from majority people’s perspective, arts education is a important and necessary in schools. 97% of response agree “participation in arts is important for children” and over 88% of people believe “There should be more emphasis on the arts and music in the school today”. 65% of people disagree with “Arts education for children is much less important than Math, History or Physics.” Figure 6 compares the early exposure to the arts in different genders and educations. We can see that over 60% of people were involved for more than two years arts and other creative activities. Also, people who with higher education degrees has higher proportion on group of “involved for more than two years arts activities”. According to the information that provided by Figure 6 and 7, it is apparently that people notice the importance of arts and culture activities for children, and they also know higher education usually means higher art-related education.
A r t educ ation and par tic ipation ar e impor t ant to c hildr en; people would like their c hildr en to have mor e ar t s and cul tur e event s and ac ti vi ties . Higher educ ation of ten means higher ar t - r elated inf luence in c hildhood
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Zero: Connecting Back to Culture, Nature and Home
C a s e S t u d y 1: E s l i t e H o t e l A Hotel Star ts from Book
Tr a n s i t i o n from Produc t to Culture 34
Eslite Hotel is an interesting hotel in Taipei, China. Established in 1989, The Eslite Corporation was originally a brand of bookstore. After almost three decades of change, The Eslite Corporation brings out the ideas of Cultural Hotel. Contains the main functions and usages of a traditional hotel, Eslite Hotels also offers possibilities and spaces for people to get involved in art and culture. Library, theater, gallery, showroom, museum and parks are been provided in Eslite Hotel for guests and visitors to fully understand crafts, culture and art. Eslite Corporation has transformed from a bookstore to a culture and art center successfully.
The Blue Calico Experience Center: Precedents Analysis
C a s e S t u d y 2 : Te n o y W o r k s Tiny Studio for Ceramic s
War m, Simple, Natural.
Contributing on creating handmade ceramics products, Mr. and Mrs. Tobimatsu started Tenoy Works five years ago in Tokyo, Japan. Though this couple is working in the same working studio, they both have their own branding: Tobimatsu Toki by Mr. Tobimatsu and UU by Mrs. Tobimatsu. Besides the time of designing, producing and making, Tobimatsus also provides opportunity of open day for people to visit their studio. Products of ceramics are the main items for display, at the same time, visitors can also see the making processes. Wood is the major material in interior. There are also some plants and pottings for decoration. This tiny studio crates an attractive and comfortable atmosphere, which is really welcomed by local ceramic lovers. 35
Zero: Connecting Back to Culture, Nature and Home
Case Study 3: Harry Potter Theme Park Wizarding World Comes True
Fully Fulfill the Imagination and E xperience 36
The Wizarding World of Harry Potter is a theme area spanning two theme parks—Islands of Adventure and Universal Studios Florida—at the Universal Orlando Resort in Orlando, Florida. Hogwarts castle, wand shop ollivanders, owlery, the three broomsticks pub, hog’s head pub, almost all the places that appeared in scenes show in theme parks again. Visitors can fully experience the wizarding world in the theme parks. Traditional movies or books might sell some souvenirs that related to their contexts. However, different from the previous setting, theme parks creates more possibilities for theme lovers and fans.
The Blue Calico Experience Center: Precedents Analysis
Insights from Precedents No mat ter wher e the audience ar e, what k ind of the space they s t ay, they ar e mor e concer ned about how they e xper ienced and par tic ipated in the ac ti vi ties .
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Zero: Connecting Back to Culture, Nature and Home
06 USER OVERVIEW
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The Blue Calico Experience Center: User Overview
Ta r g e t G r o u p o f P e o p l e Cr af t smen / A r t is t
People who work in blue calico factory. Including craftsmen, artists and other employees.
V isi tor s
All other people who come to visit. Including craft lovers, students, children and families, business people and other visitors.
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Zero: Connecting Back to Culture, Nature and Home
E xisting Customer Profile Cr af t smen / A r t is t Customer Tasks
To work and produce To make and create
Customer Pains
Unsafe and uncomfortable working environment Lack of employee
Customer Gains
Crafts and culture Reputation
Customer Tasks
To see / view To explore and participate
Customer Pains
Lack of facilities and programs Quality of the exhibition or gallery
Customer Gains
Knowledge / Experience Fun / Happiness / Memorable things
V isi tor s
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The Blue Calico Experience Center: User Overview
Pr o p o s e d Va l u e M a p Cr af t smen / A r t is t Products and Services
Pain Relievers
Gain Creators
Besides creating the space for work, produce, make and create, the possibility of study, learning and sharing are also been added Providing employees comfortable and safe working environment, which is a way to attract new employees Link artists and visitors. in this way, artists can fully understand the need and demand of visitors and consumers.
Behaviors They Have: Work / Produce Make / Create Study / Learn / Share Programs They Need: Studio / Working Area Producing Area Facilities Storage
V isi tor s Products and Services
Besides the existing programs of seeing and viewing, visitors can also get involved through participating and experience. Visitors can also create their own items.
Pain Relievers
Add more participating programs such as learning and making to meet the need of experience.
Gain Creators
Help visitors fully understand the history, making processes and stories behind blue calico. Hope visitors could been got inspired in some way.
Behaviors They Have: See / View Experience / Participate Make / Create Learn / Touch / Buy Get Inspired Programs They Need: Showroom Participating Area Study & Learn Area (Classroom) Retail Hotel Restaurant
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Zero: Connecting Back to Culture, Nature and Home
07 CONCEPT & DESIGN PRINCIPLES
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The Blue Calico Experience Center: Concept & Design Principles
Zero
Zero Dis t ance
with craft
To ensure that every artist, craftsman and visitor has zero distance to the blue calico craft and culture, and can experience the process and making of the blue calico fabric.
Understanding
Connec ting back to culture, nature and home.
0
Zero Har m
to environment
Participation
0
By using recycled goods and environmentally friendly materials and reducing the carbon footprint this project aims to achieve zero harm to the environment.
Zero Displacement
from home
Simulating the home feeling in the blue calico experiencing center to recall the impression of similarity.
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Zero: Connecting Back to Culture, Nature and Home
Zero Distance Creating An E xperience Center for Both Craf tsmen and Visitors Nowadays, a lot of people have limited connection with the blue calico. As a result, it is not possible for them to understand the beauty of blue calico or any other local crafts. However, if they have the access to blue calico, and to see, touch and experience blue calico fabric in zero distance, maybe they will love to use blue calico fabric and start to use them as daily objects. An experience center of blue calico fabric is the core idea for the renovation of the Erjia Dye Factory. While keeping the original program of making and producing, visitors are also welcomed to engage with craftsmen. In this place, craftsmen and visitors can get together and share their ideas. In the existing cultural and crafts showrooms, centers and galleries, visitors are mainly allowed to see during the exhibitions. Different from transitional way of showroom, a large part of experiencing would been added into the Erjia Dye Factory. Visitors can stay here for a period of time to earn the craft knowledge by seeing and learning the making process. Additionally, they are allowed to make their own fabrics. Visitors can stay here for a few nights to fully experience the blue calico fabric as well.
Visitors
Visitors = Displayed Item Existing Method of Exhibition (Up) Proposed Method of Exhibition Links Everything Together(Down)
Progr ams T hey N e e d
44
Craftsmen / Artist
Visitors
Others
Studio / Working Area Producing Area Facilities Storage
Showroom Participating Area Study & Learn Area (Classroom) Retail Hotel Guestroom Restaurant
Reception Lounge Patio Kitchen Parking Area Road Restroom
The Blue Calico Experience Center: Concept & Design Principles
Traditional Craftsmen / Employees Create
Create
dy Stu
More Programs
Pro du ce
k or /W
Pro du ce
k or /W
Erjia Craftsmen / Employees
ea
ch
More Experience
T
Sh
Traditional Visitors
a re
Erjia Visitors Create
Buy y Bu
S
ee
Ge
Tou c
h
Experience
Learn dy/ Stu
Learn dy/ Stu
More Programs More Experience
tI
ns
pi
re
d Par ticipate
Traditional Relationship between Craftsmen and Visitors
Se
e
Erjia Relationship between Craftsmen and Visitors
More Communication More Participation
45
Zero: Connecting Back to Culture, Nature and Home
Zero Harm Eco-friendly and Sus tainable Fac tor y Blue calico is made from natural and non-polluting materials. By following the original philosophy of blue calico, the blue calico experience center is also works in sustainable way. Natural and eco-friendly materials will be used in experience center to create a plain and pure environment. Furthermore, some actions and behaviors that reduces the carbon footprint will also been taken. Energy saving, refuse disposal and water recycling are other aspects of consideration.
Bamboo
Rat Trap Bond
Eco-friendly Counter Top
Use Natural Light
Natural Friendly Blue Calico Fabric
Composting Organic Waste
46
The Blue Calico Experience Center: Concept & Design Principles
Zero Displacement Simulating T he Home Feeling Displacement is a vector measure of the interval between two locations measured along the shortest path connecting them. If the ending point is the same location with the starting point, the displacement will be zero. Home is the place that everyone leaves to work in the morning and comes back during the night, which could been considered as zero displacement due to the same starting and ending point. Because people spend majority time at home, they usually highly adapt to their homes and house. Blue calico is also a production from home. Back to late 19th century and early 20th century, each family dyed their own blue calico to use as a daily items. However, nowadays majority people do not dye fabric by themselves anymore, instead, they will probably to go and buy from a shop or a market, which is not possible for them to know the story behind the fabric. By recreating a similar home type environment in blue calico experience center, the visitors can understand how people use the blue calico fabric as a daily item, which is beneficial for visitors to understand the background, history and story behind the blue calico. This might be helpful to people to reuse the blue calico fabric in their daily lives again. Furthermore, home is a space that acquainted by everyone; people can find a program in experience center easily by fitting them into the layout of home according to their convention. An impression of similarity is also been created by setting the similar layout for the audience who do not know the blue calico. Zero Displacement can also describe the development of blue calico. By showcasing the traditional and modern blue calico products, visitors can fully understand the changes and revolutions of blue calico.
How far does the Earth travel in one year? In terms of distance, it is quite far. But in terms of displacement, it is actually zero.
Typical home layout: Living room, dining room, kitchen, bathroom and bedroom are been provided.
Now Modern Items
Traditional Items
Traditional and modern blue calico products will be displayed in same location
? ??
Studio?
Showroom?
Reception?
Lounge = Living Room Restaurant = Dining Room Studio = Study
Home Feeling! So Familiar!
Programs in blue calico experience center will follows the arrangement and layout of home, which will be easier for visitors to view and explore (Left: Existing exhibition Right: Proposed Experience Center)
47
Zero: Connecting Back to Culture, Nature and Home
Programs Matrix PROGRAMS Public Working Studio Private Working Studio Public Producing Area Private Producing Area Facilities & Storage Showroom Partcipating Area Classroom Retail Area Hotel Guestroom Restaurtant Reception Lounge Patio Kitchen Immediate Adjacent
Parking Area
Important Adjacent Reasonably Adjacent Unimportant Not Adjacent 48
Road/Outdoor Area Restroom
ES S AC C
O O R Indoor
High
4
140
1
Indoor
Low
12
100
2
In/outdoor
High
4
160
1
Indoor
Low
5
360
1
Indoor
Low
20
300
1
In/outdoor
High
15
155
2
In/outdoor
High
12
58
5
Indoor
High
15
50
1
Indoor
High
6
35
10
Indoor
High
80
350
1
Indoor
High
10
20
1
Indoor
High
8
60
1
Indoor
High
20
100
2
Outdoor
High
10
140
1
Indoor
Low
N/A
350
N/A
Outdoor
High
N/A
7200
N/A
Outdoor
High
N/A
N/A
N/A
Indoor
High
PU BL I
C
O U T/ IN
D
TY TI 2
UA N Q
100
H
15
O C C
EA C
AR
U PA N
EA
TS
(m
²)
The Blue Calico Experience Center: Concept & Design Principles
49
Zero: Connecting Back to Culture, Nature and Home
Diagr ams Cr af t smen / Employe e s Facilities Storage Producing Area Studio Working Area
Showroom Participating Area Classroom
Retail Hotel Restaurant
V isi tor s
Pr i va te Facilities Storage Producing Area Guestroom
Studio Working Area Classroom
Showroom Participating Area Retail Restaurant
Public 50
The Blue Calico Experience Center: Concept & Design Principles
Craftsmen / Artist Visitors Kitchen
Others
Patio
Studio Working Place
Showroom
Lounge
Restroom
Participating Area
Storage Area Facilities
Study & Learn (Classroom) Retail Hotel
Reception
Restaurant Parking
Road
51
Zero: Connecting Back to Culture, Nature and Home
Progr ams L ayou t 1
52
1
Existing building usage
2
Divided into three main parts (2 parts with building,1 part with outdoor area)
3
Use as facilities for target groups of people (craftsmen and visitors)
4
Link two parts together
5
Add programs
2
3
4
5
The Blue Calico Experience Center: Concept & Design Principles
Proposed Blue Calico Experience Center for Erjia Dye Factory la Hai
ng R
oad
N
Service Entrance
Ti a n
Riv
luo
er
sha
nR
oad
Hailang Road
Main Entrance
River
Craftsmen / Artist Visitors Others
53
Zero: Connecting Back to Culture, Nature and Home
User ’s Journey Walk
Get Inspired
54
See
Listen
Buy
Touch
Make
Rest
Talk
Study
Eat
Sleep
Zhengxin Wang
Li Guo
63 years old Blue Calico Producer Comes to Erjia Eye Factory every day Blue Calico Love: • • • • •
47 years old Craft Lover from Local Comes to visit Erjia Eye Factory for one day Blue Calico Love: • • • •
Jamie Huang
Sun’s Family
21 years old Fashion Design Student from Nearby University Stays in Erjia Eye Factory for one week Blue Calico Love: • • • • •
A couple in their 30s with 7 years old daughter Visitors from nearby cities Come to visit Erjia Eye Factory for a weekend Blue Calico Love: • • •
Jean Tautou
Yuan Hao
52 years old Art Buyer and Businessman Comes to visit Erjia Dye Factory for two days Blue Calico Love: • • •
60 years old Tourist from nearby city Comes to visit Erjia Eye Factory for three hours Blue Calico Love: • •
The Blue Calico Experience Center: Concept & Design Principles
A Work Day for Zhengxin Wang Starts Here!
Rest Work on pattern boar
te iva Pr
Privat e
io Stud ng rki Wo
Comes to work Works on Pattern board
Wo rkin gS tu di o c bli Pu
g rkin Wo
Studio
Talks with visitors in public working studio
ating Particip
Zhengxin Wang
pa tin g
Ar ea
a Are
ci rti Pa Lunch
Dyes blue calico fabric with visitors Talks with visitors about blue calico‘s history Gets inspired by one viewer’s idea
Shows how to paste blue calico Communicates with visitors
The Third Study Day for Jamie Huang Starts Here!
oom estr Gu to ck a B
Break fast
Area ting ipa rtc Pa
Pati o
Sits in patio and sees the hanging fabric
This is the third day for Jamie in Blue Calico Experience Center. She has breakfast at restaurant.
Jamie Huang er Dinn
Learns to cut the pattern board Learns to paste the fabric
Trys to dye bule calico Trys to design her own fabric
Cla ssro om
Lu n
ch
55
Zero: Connecting Back to Culture, Nature and Home
An Investigative Day for Jean Tautou Starts Here!
oom estr Gu
Talks with the owner of the factory
O ffi c
e
Dinner
Area aing ticip Par
Sees how blue calico is been made
This is the fist investigative day for Jean Tautou. Starts with showroom, Jean gets to know the background of blue calico fabric.
Show roo m
king Wor
Jean Tautou
/ dio Stu g cin du Pro
Sees how blue calico is been made
e Ar
a
l tai Re
Checks Erjia Dye Factory’s products
Lu n c h
A Visit Day for Li Guo Starts Here! Knows background of blue fabric
Pub lic W ork Stu d
io
Sees how craftsmen dye fabric Tries to dye fabric
O
ut
Sees and helps to hang the fabric outdoor
56
Participating Area
Li Guo m roo Class
Learns to make blue calico fabric
Sho wro om
io Pat
See how artists to design one calico product
do
or
Pro du cing
Area
h Lunc
The Blue Calico Experience Center Concept & Design Principles
The First Explore Day for Sun’s Family Starts Here! Get to know the background of blue calico See some blue calico product
m roo est Gu
See how craftsmen design the products
Dinner
Pub lic
om ro ow
Wo rki ng Stu di o
Sh
Sun’s Family
g in at ip rtic Pa
Ar ea
Lu
o stro Gue
Learn and Try to dye blue calico fabric
nc
h
m
Back to Guestroom for a nap
An Afternoon in Blue Calico Experience Center for Yuan Hao Starts Here! Sits and rests o Pati
Re tai l
Visit the retail store
g cin du Pro lic Pub ea Ar
Sh ow ro om
Yuan Hao Learns and knows the background information of blue calico
See how craftsmen produce blue calico fabric
57
Zero: Connecting Back to Culture, Nature and Home
08 CODES, SOURCES & APPENDIX
58
The Blue Calico Experience Center: Codes, Sources & Appendix
Building Code Requirements Building Occupancy: Building primarily used or designed for the purpose of 4-100 persons for amusement, entertainment, worship, transportation, recreation, sports, military drilling, dining or similar purposes shall be classified as Division A-3 occupancies. When an A-3 occupancy shares a structure with one or more occupancy divisions, the structure shall be governed in one of the following manners: (1) Separation. When each occupancy is separated from other occupancies by fire walls, each portion thus separated shall be considered a separate building and limitations for separate buildings shall govern. (2) Mixed occupancy. Buildings with multiple occupancies which are not separated shall be considered mixed occupancies and shall be governed by the most restrictive limitations of the various occupancies. Exits shall be so arranged that the total length of travel from any point to reach an exit shall not exceed 150 feet. Exits shall be so arranged that one exit is not more than 200 feet from another exit. Dead ends and occupancy areas with a single path of egress travel should be eliminated where possible, but in no case shall any of these occupancy areas be more than 75 feet from an exit. Interior finishes: (1) Interior finishes shall be Class A or B for exits and exit corridors. (2) Interior finish requirements may be reduced by one class in buildings totally protected by an automatic sprinkler system.
750 square feet. (3) To illuminate exit or directional exit signs. (4) Rooms in which emergency lighting equipment is located. (5) Exterior light over required exit discharge. Chinese Museum Building Code JGJ66-91: Code 3.2.6: Each storage area shall has its own door. Glazing to floor area ratio shall less than 1:20. Code 3.2.8: The net height in storage area shall be 2.4 - 3 meters. Code 3.3.3: The display line for each theme shall less than 300 meters. Code 3.3.5: The net height in showroom shall be 3.5 - 5 meters. Code 4.2.2: Air conditioning shall be set in storage. Storage interior temperature shall at 10 degrees Celsius at least in winter and 26 degrees Celsius at most in summer. Relative humidity shall be 50-60% for fabric. Code 4.4.1: The thickness of the glass in shall be at least 3mm. Code 5.5.2: The wall in storage and showroom shall be fireproofing. Fire-resistance rating shall be class 350 rating.
Emergency lighting shall be provided as follows: (1) Exitways, corridors, stairways, passageways, halls, landings of stairs, exit doors, including angles and intersections, and other means of egress. (2) Rooms used for assembly purposes in excess of
59
Zero: Connecting Back to Culture, Nature and Home
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The Blue Calico Experience Center: Codes, Sources & Appendix
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63
Zero: Connecting Back to Culture, Nature and Home
Additional Literature Figure 8. Most Frequently-selected attributes for craft % BASE
416
ATTRIBUTE
CRAFT
DESIGN
LUXURY BRANDS
ART
Handmade
82
25
12
31
Workmanship
79
38
16
34
Genuine
63
36
19
48
Rural
61
14
8
19
For Everyone
54
41
16
36
Personal
54
33
16
35
The table below shows the six terms most commonly associated with craft, and compares the results to design, luxury brands and art.
Figure 9. Which of the following are reasons why you would consider buying craft?
64
Craft makes a unique gift
58%
I admire the human skill involved / want to keep craft skills alive
55%
Beautiful objects appeal to me
49%
It means I own something that nobody else does
41%
I like to have beautiful objects in my home
39%
To support craft people / makers
35%
I like to support new talent
22%
Itâ&#x20AC;&#x2122;s an investment / an heirloom of the future
20%
I am drawn in by the story behind the object or the ideas it represents
19%
Buying craft is an extension of my own making / creativity
16%
Buying craft fulfils my need to collect
12%
As the table shows, the four most significant motivations for buying craft are: 1. For a gift 2. Because the buyer admires the skill involved in making the object 3. To fulfil a need for aesthetic beauty 4. To own a unique object.