Project (tea leaf journey)

REPORT MDES 2012 WENBO AI

I wish to thank all those I met on

my tea journey, people who unbidden nevertheless helped me a lot. Many thanks also to Doctor Alison Prendiville and all my classmates in MDes, for caring for me after I changed to this course and who have taught me so much about service design, convincing me of its social value. I am deeply appreciative for every moment of my eight months of study in MDes.

The Tealeaf Story:

Major project report MDes 2012 Wenbo AI

A service design concept exploring and communicating the cultural significance of Chinese tea.

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Summary This project, based on a personal journey through the tea producing heartland of China, explores, communicates and activates the cultural significance of Chinese tea among tea drinkers.

PHASE ONE: Formative Problems

PHASE TWO: Find evidence

The research started by investigating a group’s drinking behaviour.

Most of those in the research group drank tea made from tea bags not tea leaves. Even modern Chinese tea drinkers do not know much about the ancient Chinese tea ceremony. Instead they frequent coffee shops and “milky” tea shops that are everywhere. It is rare to find a traditional Chinese tea shop but the search repays the effort since such a shop expresses a great depth of tradition and philosophy – the culture of tea in China is an art rather than a mere refreshment.

To locate Chinese tea culture I began a research journey, a journey following a modern tea route through China for a month. I visited green tea and dark tea plantations, tea museums and teahouses. My primary research methodologies included interviews, surveys, and observational research leading to analysis through customer journey maps and co-designing. Ancillary research included in-depth reading about the Chinese tea ceremony and a workshop at the Samsung Art and Design Institute (SADI) that promotes herbal tea culture in South Korea. Both secondary and primary research allowed me to build a complex yet clearer picture of the Chinese tea culture.

Based on the research, design methodologies – storyboard, rough prototyping and blue print – helped me develop a clear design concept.

The final service delivery is to link up with the China Tea Museum in PHASE THREE: Service delivery Hangzhou: it explains how to promote tea culture among visitors and others through museum services. This promotion explored how to Solve problem attract tourists to the tea museum, how to learn and enjoy Chinese tea culture and, ultimately, share what they have learnt with friends, colleagues and family.

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路 Time table of the project

TIME TABLE OF THE PROJECT PHASE TWO: Find evidence

Tea ceremony

PHASE ONE: Formative Problems Tea bag problems

Research

Analysis typology

Tea museum Visual investigation

Tea culture Phase THREE: Service delivery solve problems

Research

How to make or buy tea

Drinking tea behaviour problems

Prototyping

Test

Interview investigation

Ethnographic

UK JULY

CHINA AUGUST

Methodology research

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KOREA SEP

Phase

Fields of study

UK OCT

NOV

Methodology

路 Contents list

Contents List Introduction ........................................................................ P5

1

2

3

4

1.0 Data collected /Methodology ........................................P8 1.1 Primary research : Tea journey in China.......................P9 1.2 Secondary research......................................................P74

2.0 Research Analysis.........................................................P76 2.1 Analysis journey.............................................................P77 2.2 Service aim ...................................................................P82 3.0 Design process..............................................................P87 3.1 Prototyping....................................................................P89 3.2 Service concept.............................................................P115 3.3 Storyboard.....................................................................P117 3.4 Blueprint........................................................................P119 4.0 Conclusion.....................................................................P111

Appendix.............................................................................P113 Bibliography.........................................................................P122

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·Introduction

Introduction This project starts by investigating people’s tea drinking habits. Drinking tea, as an activity in Chinese cultural and daily life, is deeply important. Firstly, it solves many common physiological problems, relieving thirst and providing needed nutrition. Secondly, it helps psychological problems – for example, drinking tea can relieve fatigue and strain. Thirdly, tea may even have a spiritual benefit, a kind of purification expressed in its art. Sadly modern tea drinking behaviour only seems to address the first problem while the others are obscured by the pressures of modern life.

Through four investigations in offices and Chinese tea shops, certain difficulties presented themselves: simply because of the convenience. This reflects wider eating and drinking behaviour, governed by speed and convenience but which are also far from healthy. teashop in China. These are replaced in popular culture either by coffee or “milky” tea shops that serve a product that is recognisably western. The traditional Chinese tea culture seems to be vanishing under the onslaught of a pressurised, consumeristic modern society.

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路 Introduction

WHEN DRINKING

NO IDEA !

Most people rarely if ever pose these questions when they drink tea.

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·Introduction

A key aim was how to use service design to promote Chinese tea culture, bringing it back into the daily lives of ordinary people and changing both their drinking behaviour and their philosophy of use. I needed, first of all, to describe traditional Chinese tea culture – the art behind the Chinese use of tea – and consider how people can feel so peaceful and relaxed when they use the tea ceremony. With this question in mind, I started my tea journey through China in August 2012.

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1.0 Data collected

1.0 Data collected Methodology 1.1 Primary research : Tea journey in China ..................................................................P9 1.2 Secondary research: Tea ceremony book/Korea tea journey ....................................P74

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Discover

Define

Develop

Primary research: Tea journey in hina

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Deliver

1.0 Data collected / Primary research

4

1 3

JOURNEY MAP

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1.0 Data collected / Primary research

The provenance of green tea, green tea is exported from here to Korea and Japan.

GREEN TEA

A traditional tea house which promotes health and the philosophy of the tea ceremony.

TEAHOUSE

The provenance of tea in the world, dark tea exported to India and UK.

DARK TEA

An insurance company which uses the tea ceremony in their office.

OFFICE

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10

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1

GREEN TEA

西湖龙井

HANGZHOU Place of re

search/调

gfeng

Shuan

l Tea Museum

/中国茶叶博

物馆

井村

ge / 龙

villa gjing

Shan

gmao

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茶园

d/ 双峰

mlan tea far

China Nationa

Lon

查地点

jiabu

tea fa

rmer

home

/上茅

家埠

农家

1.0 Data collected / Primary research

ă€ƒN ă€ƒ Elevation: 1,500 metres Subtropical monsoon climate Geographic advantage: The West Lake and surrounding mountains

China national tea museum

Mountain and farmland

West Lake

China National Tea Museum

Hangzhou, close to Shanghai, belongs to the Chinese Yangtze River Delta Economic Zone. This region has a high population density yet is also famous for an ecological niche that contains Long Jing – the Dragon Well – located in central Hangzhou. Long Jing has been made famous in myths and legends because of its stunning landscape and its production over millennia of green tea. Even though Long Jing is located in an active economic development zone its natural ecology is highly protected. Possibly, this is one of the few peaceful places left in the region which is why the tourist industry has been successfully encouraged making Long Jing a sought-after tourist destination.

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1.0 Data collected / Primary research

Geographical

soil

spring water

climate

mountain

Long Jing green tea is justly famous.

It could even be called a celebrity among Chinese teas. The price is high but the true Long Jing tea is only produced in the Long Jing area the annual harvest is relatively small.

Non-natural variables

tourism

celebrity

politics

Shuangfeng Tea farmland

Investigation locale: Shuangfeng tea farmland Investigation time: 9:30 am 7th August,2012 Investigation aim: Understanding the tea growing environment

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1.0 Data collected / Primary research

Shuangfeng village

Much like champagne – available only from that region of France – Long Jing tea is made special by its

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INTERVIEW

I met two tea farmers – a husband and wife – who work the tea fields. They came to Long Jing to plant tea when they retired. They chose to live in this beautiful and peaceful place because it suits them better now they are older and because they enjoy having a healthy outdoor activity to keep them busy. The man was pruning to keep the tea trees at an optimal height making it easier to collect the shoots. He told me he drinks four large bottles of tea tea leaf has been fired. They brought a large flask of tea with them whenever they went out to work on the plantation. This kind of flask is very common in China: sometimes older people take vacuum flasks when travelling, recognising the health benefits.

Interviewee: tea farmer Interview time: 9:30am 7th August 2012

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Interview content

He picked one tea shoot for me, explaining that this is the best part of the tea tree which, generally, is the source of the tea. This tender young leaf is like a new life that has sacrificed itself to improve human wellbeing.

Why should such young shoots be chosen to make tea?

Since they grow at the top of the tea trees they receive more sunlight and are so delicate that their taste is both mellow when drunk and a little sweet as well as having a beautiful fragrance.

The window of opportunity to pick the tea shoot is small: if the farmers do not pick it early, when it matures the flavour becomes bitter. The more delicate and smaller the shoot the more delicious is the flavour – and also the making the season busy for tea farmers who must hire temporary pickers to help with the harvest. The excellence of the tea leaf depends on its being picked at this crucial time: it is made more precious by the shortness of the optimal period.

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1.0 Data collected / Primary research

Tea shoot

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Pesticide Spraying

A tea farmer was spraying pesticide in his fields while, at the same time, another was harvesting leaves in adjacent fields.

To understand why they were still picking long after the ideal period in late summer, I interviewed one farmer. She told me that while summer is for protecting not picking tea, nevertheless Long Jing tea’s fame put it in great demand and the spring harvest simply does not supply that demand which is why she still picked tea beyond the usual season.

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Tomb-Sweeping Day

SPRING

Tea picking

best season

SUMMER

crop-dusting

AUTUMN

WINTER

picking again and pruning

PICKING TEA

The ideal period for picking tea is before Tomb-Sweeping Day(清明节) , 5th April. This is the when nature begins to revive in this region of China, when the tea shoots are the most tender and soft. The summer – with its high temperatures and crop-dusting to counter insect activity – and autumn seasons concentrate the leaf flavours making the tea heavy and strong. After picking for the last time in autumn a farmer will prune the tea bush back to the appropriate height. Then the bush will rest, absorbing energy over the winter, waiting for spring to revive it.

Visiting a teafamer’s home

Investigation locale: No.201 Shangmaojiabu teafarmer’s home Investigation aim:

A farmer talked at length about the Long Jing tea market:“The best leaves, produced in the best to satisfy the luxury market. The tea bought in the local Long Jing shops can scarcely be called local tea. Not even the tea drunk in the local tea shops.

Tea produced elsewhere is brought in to this beauty spot to satisfy demand. People always think the tea is from Long Jing when they buy it locally: but that’s not true.”.

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Understanding tea better

1.0 Data collected / Primary research

Then he took out a cotton bag that stores the tea and said: “the simpler the better. Putting the leaf into a cotton bag is the best way to store it, with lime under the bag to keep it dry.”

He also showed himself deeply aware of environmental protection issues: “The best time to pick tea is spring, before May. After this, insect pests become a serious nuisance. If you want a good harvest you must crop-dust, use more pesticide. Modern people have no conscience because you cannot make money with a conscience. People only think about money.” He also said that the development of tourism has broken the precious and delicate ecological balance.

“The more people that come to one small place the more the local peace will be broken.”

Generally speaking, Long Jing tea is made using pure local spring water. Making tea like this is vital to those who know about tea. Then he pointed out that “actually, the local spring is already contaminated and tourists who know nothing about this problem still drink the tea made using that water in the tea shops.”

HOW TO PACK TEA?

Weigh

Pack

Seal

Commercial tea box

When visitors want to buy tea, he takes the leaves from the cotton bag and put them into a plastic bag. After weighing then sealing the tea visitors choose between different tea boxes. These can be aluminium or porcelain and have been bought elsewhere – there is no information on the box except the name – and these boxes have nothing in common with the product.

Tea products bought at the farms should keep their rural styles as a mark of their provenance and honesty. It seems ridiculous – even slightly dishonest – to decant the leaves from a plain cotton bag into a commercial box which does not reflect the origins and integrity of the tea itself.

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1.0 Data collected / Primary research

What did I learn at the farm?

What is the tealeaf and when is it picked?

th

row

t

tan

li

e s th

Soi

st

mo

or imp

ackaging is

p Traditional

r

r fo

to fac

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best!

Co-designing with tea farmers .28

CHINA NATIONAL

TEA MUSEUM

Tea farmland surrounding the museum

Tea museum

The China National Tea Museum is located in Shuangfeng, on Longjing Road in Hangzhou, Zhejiang province. It occupies 3.7 hectares contained within a wider 8 hectare area undergoing that surround its consumption. The museum nestles among the Long Jing tea plantations and inside there are flower corridors, reconstructions of hills, ponds and waterside pavilions all integrated into a single, contiguous exhibition. It is in a park to the south of the Changjiang – also called the Yangtze River – where there is pure air and the visitors can feel close to nature.

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1.0 Data collected / Primary research

Tourist map

3

Tasting

POST SERVICE

2 Exhibition

SERVICE PERIOD

1 Entrance

PRE-SERVICE

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CUSTOMER JOURNEY MAP

1

PRE-SERVICE

The Main building is hidden among extensive tea.

Hangzhou is famous for its green tea, grown around the West Lake. Tourists visit Long Jing village but few know of the tea museum. I asked ten tourists I met in Long Jing and only one had heard of it. Since I had chosen tea for my project my tutor suggested I should visit the tea museum. Without her initial guidance I would not have known about the museum, as there was no information directing visitors to this attraction apart from localised notice boards near the museum.

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1.0 Data collected / Primary research

2

SERVICE PERIOD

Room 1: Tea history and culture in each period - from the ancient discovery of tea to the present.

Room 1

Room 2 Room 2: Samples of tea and introduction

Vistors can use this phone to dial the number of the tealeaf they want to know moreabout.

Different samples Source area information

Colour of tea Dialing number and listening to information Tealeaf after drinking

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Room 3

Room3: tea knowledge - making tea, instructions and health benefits Interactive technology to help visitors understand.

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1.0 Data collected / Primary research

POST-SERVICE

3

Courtyard

After moving through the exhibitions within the museum, visitors leave the last room and enter a beautiful traditional courtyard through which they walk to the teahouse.

Generally speaking, visitors should have a rest after their visit to the museum because there is much to see and far to walk. For this reason, the museum provides what is an excellent and appropriate service, presenting visitors with a suitable culmination to their experience with a relaxed enjoyment of tea taken at a traditional teahouse.

Teahouse

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1.0 Data collected / Primary research

For more research from the China National Tea Museum, see AppendixA(pages 113-116)

Tea packaging in the Qing Dynasty

Artifacts

Compared with museums in the UK – often with a range of visitor-centred communications such as are offered in the British Museum, for example – the souvenir shop, informative guides and follow-up service of Chinese museums in general are poor or museums is clear at the China Tea Museum.

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2

武汉

WUHAN Rese

arch

at the

Tian y

i ju T eaho

天一居

use

茶馆

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Tianyiju is both a traditional Chinese style and modern life style teahouse, located in Wuhan. The concept behind the teahouse can be distilled into four interrelated activities: Explanations about using tea in the preparation of food. The health benefits of How to prepare and drink tea in a scientific and relaxing way.

Workshops that cover how to deepen the experience of tea. This may include the ritual surrounding tea and workshops about how to preserve use tea for health. explain how to prepare, taste and benefit from tea.

Enjoying the tea with concerns a return to a more spiritual recognition of the benefits of drinking tea together without distractions. This may be something the modern world – with its social media and pressured lifestyles – is losing or has already lost.

The aim of the teahouse is not just to let customers drink tea and rest but also to cultivate an aesthetic – even moral – experience. The teahouse decoration is based on feng shui and expresses aspects of traditional, self-reflective Chinese philosophy.

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1.0 Data collected / Primary research

1

PRE-SERVICE

The Tianyiju teahouse is comparable in some ways to the Monmouth coffee shop in London. For more than thirty years, in Monmouth Street, it has grown by word of mouth provenance and preparation of the coffees offered as well as the knowledge of those working there. In a similar way, the Tianyiju teahouse is known to provide real tea in a traditional environment. When the teahouse first opened, the shopkeeper invited his academic friends. Once they had visited and enjoyed the experience, they recommend it in turn to their friends. They generated their own market through word of mouth and soon had a settled cohort of customers.

2

SERVICE PERIOD

Healthy drinking

MAKING TEA

The teahouse has two basic services: tea can be ordered at any time and food can be taken at meal times. Other specific activities such as workshops or lectures are held at weekends.

1.0 Data collected / Primary research

For their healthy cuisine, tealeaves are used as a basic ingredient for most dishes. When customers open the Tianyiju menu – designed like a traditional Chinese book – the contents are calligraphically presented on rice paper. On the first page diet is mentioned, with a suggestion that it should depend on the solar season. There are notes for people’s fitness routines at different times of the solar year. For instance, one menu is used in the summer and explains how to adjust individual yin and yang based on an appropriate balance of eating and sleeping. key

Steamed fish with tealeaves

solar period

Drinking tea one hour before the meal

Healthy eating

Steamed rice with tealeaves

3

POST-SERVICE

Post- service If a customer asks for membership of the Tianyiju teahouse, they will get a discount on the tea they buy.

Most importantly they can take part in lectures held by tea scholars for free.

1.0 Data collected / Primary research

INTERVIEW

Yang Li, a college classmate, has worked in the teahouse since she graduated. Two years working there have changed her spiritual temperament. She has met many cultured literati and the core tea ceremony has affected her deeply. I shared two problems with her that I had encountered at Hangzhou. One was the ecological and health-related contradictions between the uses of pesticide and the tea picking time; another, the aesthetic contradiction between traditional and commercial packaging. She admitted that the proprietors are deeply aware of the second problem and take it seriously: “What we can do is encourage more people to choose a healthier life, which is the goal of the teahouse.”

The problem of pesticide use at picking time is generated by consumer demand. She gave an example: “In some grocers, to increase the attractiveness of apples and other fruit, industrial wax is daubed on the surface. But why has this happened? It is because customers consider the surface first without thinking that a superficial appearance is no indicator of deeper value and might indeed prove harmful.”

These words inspired me. Why is the tea market becoming more commercial and chaotic? Part of the reason lies with weak, poor or uninspired management. Most important however is consumer pressure, the customers that blindly pursue a perceived – and superficial – idea ignoring the essence and complexity of tea. So it may be important to encourage customers to choose to buy their tea in spring or autumn not summer. Picking time and the nutritional value gained are keys to the benefits of tea: in terms of the packaging, natural or simple is more praiseworthy than extravagance and more in keeping with the philosophy behind the Chinese use of tea.

RESPECTING THE LIFE IN TEA The shop owner said: “Washing a cup is just like learning my soul after finishing a day’s work, and I will forget all my worries.

CULTIVATE

The owner of the Tianyiju teahouse is a scholar and tea specialist. He has introduced some of his own research to deepen understanding of the tea ceremony. “The central concept is respect for the life of the tea leaf itself: the leaf undergoes a long and complex process, a journey from the tree, through picking, then processing – firing，air-curing, sun-drying, rotating, rolling, further drying，fermentation then finally washing in hot water – to express the fullness of its complexity in the tea people drink.” It could be said that tea has three stages of life: growing in nature, processing by human hand and finally its spirit reanimated by hot water when drunk. What is clear from his insight is that we need to regard tea not merely as product to be carelessly consumed but as animate. This means respecting its spirit when we drink it and by extension to learn respect for others and for the natural world.

1.0 Data collected / Primary research

INTERVIEW

The Chinese tea ceremony philosophy behind the tea ceremony, it involves reconnection with the life-essence of the leaf. awareness. experience.

When making tea, we need to do so in relaxing conditions with restrained gestures and attention to detail. A relaxed approach can come to delight tea drinkers. Keeping a relaxed attitude concentrates the mind on the making of the tea and through that on the full history and meaning of the leaf that allows the tea. Mundane troubles and considerations can be put in perspective. Thus, a pot of tea expresses the full potential of the leaf that generates it – more than a distraction but rather a combination of excellent flavour, balanced aesthetics and health-giving nutrition. Using psychological discourse the teahouse owner called the tea making process something that acts like a “treatment to distract attention” reducing anxiety through the ritual of making tea during the working day.

For example, when a tea-maker serves tea to their guests, the tea should only fill 70% of the cup: a meaning from this might be that the tea is already too rich and valuable to be carelessly filled to the brim. An intrinsic meaning might also be that we should value humility – something out of step with the consumerism that demands appearance over essence in packaging.

When we taste tea, we need to let it stay a while in the mouth to allow the aroma to develop, to let the tongue taste in combination with that aroma. This suggests that good things need time for enjoyment and the aim should not be to swallow but rather to savour and think and understand.

This is the significance of the Chinese tea ceremony – a significance brought back carefully by the Tianyiju teahouse – that enjoying tea can be a window to generate a theory of life.

Management Strategy Customers not only have the chance to rest but also to cultivate themselves much as the tea itself has been cultivated. The aim behind the Tianyiju teahouse is not profit but education. Customers should come away with a deeper knowledge of tea and its culture, encouraging them to choose a healthier life by becoming part of that culture. Considering the needs of customers – and by this is meant not a superficial commercial exchange – might build a new kind of brand loyalty based on self-awareness, an alternative to the market-driven motives at work elsewhere.

What did I learn here?

CO-DESIGNING Changing people’s commercial behaviour – where consumption is periphery to understanding – is fundamental if we want to generate a genuine alternative to chaotic and selfish consumer culture. Such a culture demands pesticide because it cannot imagine beyond superficial appearance and that pesticide is poisonous.

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ain

3

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DARK TEA

KUNMING YUNNAN Pu 'er Tea Museum Yunnan may be is one the earliest places – if not the earliest – where the tea tree was cultivated. In the China Tea Museum they mention that, until today, there are some ancient tea trees to be found in Yunnan province. The oldest living tea tree has been dated to around 3,000 years – two hundred years before the foundation of Rome or one thousand years before the birth of Christ. To identify the origin of tea trees – where they came from and how their cultivation began – I set out on this journey of discovery.

the Silk Road

CHINA Ancient Tea Horse Route

Ancient Tea Horse Route and Pu'er tea Traces of this ancient trading system that connected Yunnan to Tibet, India and Burma still exist in southwest China and the Route was in operation well into the twentieth century. This was one of the most famous ancient caravan trade channels, using horses, donkeys, mules and often men to carry tea and salt, connecting Yunnan with centres of tea consumption (Chen and Watters, 2010). Its ancient provenance – it started approximately one thousand years ago – and its interconnection of vital trading states and cities make it almost as economically important as another trading system, the Silk Road. This was the silk and jade trading system that connected China through states south of the Himalayas into the Middle East for nearly two thousand years.

The tea route is also known as the Ancient Tea Horse Road (茶馬古道) (Fuchs, 2008).

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ANCIENT TEA HORSE ROAD

In 1997, Chen Baoya, professor of archaeology at Beijing University, and Mu Jihong, professor of archaeology at Yunnan University, organised a field visit to southwest China and published Research into the Significance of the Ancient Tea Route. Their research shows conclusively that Chinese merchants distributed tea across the Sinosphere as far west as modern Persia and the Middle East – an economic system that was extensive, complex and in many ways very modern(Fuchs, 2008).

Pu’er tea is dark tea and can be stored longer, has a higher price and enjoys an extensive cultural and economic history. Over the thousand years of the Tea Route Pu’er tea added significant economic and cultural value to China and its trading partners, the still extant network of tracks now a monument, listed as part of China’s National Intangible Cultural Heritage.

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Yunnan Pu’er Tea Museum

The Yunnan Pu’er Tea Museum is part of the Yunnan Provincial Museum and promotes China’s Intangible Cultural Heritage, specifically its Pu’er tea culture. This provincial museum attracts both those interested in culture and tea connoisseurs seeking to understand better the history of Pu’er tea.

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Tea herbarium in the showcase

Bookmark in curator’s book This tealeaf bookmark contains the strong and distinctive natural aroma that invokes its thousand-year story. The cost is negligible but the leaf signifies a great deal and remains the simple tea leaf behind this story – the leaf is a meaningful and memorable souvenir for visitors – much like the tea seed I mention later – symbolic and real at the same time..

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Ethos

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Certain writers have worked hard to promote Pu’er tea. Zeng Linyun, curator of the Tea Museum, is one. She has conducted extensive research and her work supported the health-giving effects of tea drinking during the Beijing Olympic Games of 2008 and the Shanghai World Expo of 2010.

She was given funding from the central government to develop tourism at the source of the Tea Route – Yinwu village in Xishuangbanna. Sadly this funding was embezzled by local government officials and now she spends her time promoting the culture of tea at the Museum.

She feels delighted that young people and students are interested in the culture of tea and she even helped arrange my onward journey to Yiwu, the village that was a key link in the ancient Tea Route.

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On the way from Jinghong to Yiwu, the landscape looks unexceptionable: sadly it is unusual to see much original natural countryside.

KUNMING YUNNAN Pu 'er Tea Museum

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source of Ancient Tea Route

YIWU

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JINGHONG

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YIWU VILLAGE

Yiwu is an ancient village located in Xishuangbanna inhabited by the Dai. The Dai people are indigenous to one of the autonomous regions of China bordering Laos, a region known as the “Golden Triangle”. The average elevation is greater than 1,500 metres with a tropical climate offering abundant sunshine and rainfall – the topographical conditions are excellent for growing tea. The ruggedness of the plateau limits agricultural activity and for exactly this reason the wild ancient tea trees have been well protected.

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1.0 Data collected / Primary research Tea Mountain God Small local tea museum

Ancient customhouse

Valliage landscape

Yiwu – a royal tribute village during the Qing Dynasty and one of the ancient sources of the Tea Route – became a backwater and for a while fell into total obscurity. Some historical relics were not well protected: for example, the rural flagstones forming the ancient Tea Route, ideal for the caravans, have been smothered by a modern asphalt road. This may be due, in large measure, to a deficit of sustainable developmental ideas among those who plan infrastructure.

Part of the Ancient Tea Horse Route which still exists

Part of ancient road now covered by modern asphalt

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INTERVIEW

The lack of joined-up planning extends to a small local tea museum in Yiwu which, surprisingly, does not open to the public. On the second day I was lucky that my visit coincided with that of a group of television journalists who were making a documentary. The caretaker introduced a signboard which is now among the most important artefacts in Yiwu. He said “a group of scholars and professors came here to observe and to study and they found this signboard in a farmer’s home. The calligraphy was written by the Emperor Guangxu of the Qing Dynasty but, of course, the farmer had no idea. Since that discovery Yiwu began to be noticed again.”

Cheng Shun Hao, one of the eight ancient teastalls in this village, is the home of the farmer where the royal signboard was discovered.

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INTERVIEW

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1.0 Data collected / Primary research

HIS MEMORY OF THE ANCIENT TEA ROUTE AND PU’ER TEA

One of Yiwu’s oldest residents had inherited and run his family tea stall but was now retired. He told me that “when I was a small child we always heard from the adults that it was a great and arduous journey from here to the capital. Even Tibet might as well have been a foreign country because the mountain road is so precipitous and dangerous. Even though now this perception has been changed – after all, we do not need caravans to transport the tea any more – nevertheless, the ancient Tea Route should be marked, it has a kind of spirit that lasts forever.” He also told me how people discovered fermentation tea. “During a long journey, the tea was bumped on the horse and accidentally fermented in the bag. It was only later that people discovered that this produced a different flavour and that is how black tea originated.”

This courtyard was where the tea traders and caravan porters with their animals gathered before they set out. There is one monument which signposted the several ancient roads but, sadly, it had not been well protected.

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Thousand-year-old tea tree

Camellia sinensis

Pu’er tea comes from a variety of tea distinct from the green bush tea tree in Hangzhou, the older Pu’er variety growing to around 20 metres. Some of the oldest tea trees are enclosed by wire netting to protect them – this one is a thousand years old.

Local people told me that the smaller, bush tea tree is the result of selective breeding from this higher tea tree. It is easier to harvest the leaves from the bush but higher trees enjoy better shade. For shorter tea trees strong, direct sunshine within a large expanse of vegetation makes them vulnerable to plant diseases and insect pests. High tea trees growing in a forest do not have this problem and do not need pesticide spraying.

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Tea flower and tea seed

The tea flowers, seeds and larger tealeaves cannot be processed to make tea.

Nowadays farmers propagate from cuttings instead of using seeds to grow the trees. Some farms still use the ground up seeds to fertilize the soil but most ignore them altogether. It may be possible to use them to make souvenirs like the leaves from the Yunnan Pu’er Tea Museum.

SEED These seeds were picked accidently together with tealeaves by farmers who took them home. Later, they were discarded as farmers do not use seeds to grow tea trees any longer.

1.0 Data collected / Primary research

In this village, manual tea workshops are still the norm in every farmer’s home.

2 1

Pan firing

Sunshine drying after picking

A local farmer singled out the second stage of heating as key to success. “The important and handlers should pay close attention to the duration and degree of heating, the length of time the leaves are cooked and the way the leaves are stirred, even to the gestures used in stirring.� After heating, the aroma smells incredible in the sunshine, an intense odour not unlike fresh grass.

Rolling

There are seven steps in the processing of the leaf:

3

Dry

1. Sunshine drying after picking 2. Pan firing 3. Air-drying 5. Fermentation 7. Packing

1.0 Data collected / Primary research

After drying, the farmer picked a leaf up. “Some tea companies buy up the surplus residue, the essence of the tealeaf.

At each stage of the process, attention must be paid to the atmospheric humidity, temperature and the weather. Rain occurring when sun is needed for the drying stage may mean the tealeaf will be prone to mildew and therefore have to be discarded.

5

Fermentation

Press

After the fermentation stage the tealeaves must be moved into the steam room where a stone mill presses the leaves into a cake which is easier to store and transport.

The last stage is packaging. Bamboo leaves and cotton paper are used to store the tea cake. This packaging is done by hand which helps keep the original flavours better than with tea than has been machine packed.

For packing

7

1.0 Data collected / Primary research

Landslides

When I was returning, I saw mountains covered with tea tree plantations, while farmers were reclaiming wasteland to plant more trees. However, plant cover of a single species – a monoculture – may be dangerous and lead to ecological damage such as soil erosion: deeply about the issues that surround the production of tea. While watching farmers strive selflessly to increase yield and maintain standards of production – and seeing how local communities and scholars can work together to describe and pass on the aesthetics and culture of tea – I also hoped it would be possible to strike a balance between development and the environment. If this is not done, China will lose through the degradation of valuable and irreplaceable agricultural land.

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t be forgotten.

age should no

Cultural herit

As a tea museum, we should do more.

Not just exhibitions, but also how to bring culture alive in the musuem!

After finishing this rural journey I went back to the Pu’er Tea Museum and talked again with the curator. We both agreed that the Museum should add certain activities such She had herself visited wine chateau in France and museums outside China and saw the need to do more in terms of education, publicity and some ways to make the project more self-sustainable. She told me that when the Pu’er Tea Museum is rebuilt and expanded these possibilities will be considered.

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CO-DESIGNING

1.0 Data collected / Primary research

MUSEUM WORKSHOP

carefully. The people I met on my journey had made and were making great efforts to maintain and deepen China’s cultural inheritance, each in their own way.

I took this picture at Yunnan Provincial Museum. A famous artist was teaching children kirigami – the art of paper cutting. This kind of workshop is commonplace in the UK but rare in Chinese museums. I felt excited by the way the Museum was providing a public space for people to teach and to learn. In this way the Museum was extending itself beyond being a space for exhibitions alone. Activities that involve visitors and deepen understanding might make museums more interactive and reactive. In this way, visitors – especially children who are increasingly reliant on complex and challenging audiovisual media such as computer games – can more easily feel they are taking part in their cultural inheritance, owning what is theirs and leaving with a new level of understanding.

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1.0 Data collected / Primary research

OFFICE

In an office in modern Beijing, every employee has a traditional tea set on their desk. They value the time set aside for the tea ceremony during the working day. My cousin works in this company and thought this tradition added a harmonious atmosphere to his office.

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1.0 Data collected / Secondary research

SECONDARY RESEARCH Ancillary research included in-depth reading about the Chinese tea ceremony - see Appendices B to k (P117-121) and a workshop at the Samsung Art and Design Institute (SADI) that promotes herbal tea culture in South Korea.

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1.0 Data collected / Secondary research

Koreans having a tea party at Namshan Park

Teaching how to make herb tea in the Oriental Medicine Museum in Seoul

Teahouse in Sichuan Province in China

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2.0 Research analysis

2.1 Analysis journey.................................................P77 2.2 Service aim .......................................................P82

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RESEARCH ANALYSIS

Discover

.77

Define

Develop

Deliver

2.0 Research analysis

SWOT and developent

Analysis of the tea jounrey Problems and gaps?

Storyboard Service concept

ANALYSIS Discover

Define

Develop

Deliver

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Analysis of the tea jounrey

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2.0 Research analysis

Based on the tea journey, I analysed some problems and sussested solutions:

1 The trip to Hangzhou For tourists visiting Hangzhou, the West Lake and Long Jing village are key attractions. For millennia Hangzhou has been made famous by these two beautiful places, well-known in China and beyond.

Most visitors come in search of Long Jing green tea culture but miss one fascinating and instructive place – the China Tea Museum.

Problems and gaps

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2

The Wuhan Tea House The reason behind the success of this venture is not commercial: the owners communicate with enormous enthusiasm their understanding of tea and its place in Chinese culture. Their enthusiasm is infectious and customers quickly become willing students of tea culture, growing to understand and accept the values they learn – often for the first time – buying tea not as a superficial expression of tourist fashions but as the culmination to their own personal journeys of exploration. If those working for the Chinese tea industry want to change their customers’ behaviour, it is essential first to deepen knowledge, to create values that enhance the experience of tea.

The central concept of the Chinese tea ceremony – which is a poor translation of 茶藝 which means the art of tea – is to respect the key ingredient, the leaf, through the entire process of brewing and serving tea.

3

The experience of Yunnan’s dark tea For tourists, the Pu’er Tea Museum is more accessible than the tea estates themselves. It is part of the Yunnan Provincial Museum which is located in Kunming, the capital of Yunnan province. The Tea Museum is famous for the way it manages to capture and communicate the mystery and the power of ancient Chinese culture，a heritage about which most Chinese are justly proud. The Pu’er Tea Museum concerns itself with communicating not tangible artefacts but, rather, an intangible and complex cultural heritage and it is the first place tourists tend to visit in Yunnan province. The problem for tourists is that the tea estates are too far away from Kunming and there are so many that an itinerary is difficult to generate without help – tourists do not know how to start their journey of discovery and there is little to guide tea enthusiasts apart from the Museum.

4

The visit to Yi’wu village As a royal tributary tea village this was one of the starting points of the Ancient Tea Route.

Sadly, is has not been well protected over the years and much of the physical heritage has been eroded or lost.

5

Shared problem of the China Tea Museum in Honchu and the Pu’er Tea Museum in Yunnan: weak pre-service and post-service According to the curator of the Pu’er Tea Museum in Yunnan – which is in many ways similar in its approach to other Chinese museums – there is abundant funding from central and state sources because, nowadays, the government is trying its best to promote traditional Chinese culture. In terms of long-term development funding is no replacement for a nuanced approach to museum services and Chinese museums need to improve their introductory and follow-up services to attract more visitors, provide better service for those visitors and, of course, to encourage those visitors to return.

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2.0 Research analysis

Service concept Based on problems

1

and

5

The aim of my service delivery: Choosing the China Tea Museum as a platform to promote Chinese tea culture for tea tourists to Hangzhou.

Discover

Define

Develop

Deliver

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Problem

1

People do not know here!

China National Tea Museum

But they all know here!

LongJing village

Key Tourist attractions for green tea

.83

2.0 Research analysis

SWOT of the museum

High service: Good environment surrounded by mountains Systematic introduction for tea knowledge Interactive technology to help visitors understand.

Low service: Pre-service is not enough which people rarely know Post-service is not enough, people buy teacup, tealeaf and leave Museum hasn’t built a long relationship with tourists.

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BrainStormMap Information center

web

Exhibition

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3.0 Design process 3.1 Prototyping........................................P89 3.2 Service concept.................................P115 3.3 Storyboard.........................................P117 3.4 Blueprint............................................P119

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3.0 Design process

Develop

Is it possible to attract tourists to the China Tea Museum?

First of all, it is important to find the ideal way to publicise the Museum and let potential visitors know why this is an excellent place to learn about the culture of tea. With the exception of usual communication channels such as the Internet, TV, advertisements, brochures and signage, what else can be done to generate pre-service? What is the most direct and effective and cost-effective method?

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PROTOTYPING 1 Perhaps one solution could be the construction of a seed pavilion at tourist attraction of Long Jing village, a place that tea lovers must visit. This could be combined with packaging a tea seed with a map which exactly locates the museum and either sending or giving this to tourists interested in tea and local culture. The advantage is that it would be easy to target a receptive group while cheaply reusing the tea seed that otherwise would simply be thrown away. The tea seed might not only be used for attracting tourists to the Museum, it could also furnish visitors with a suitable souvenir – reminding them of organic and sustainable life if they take the tea seed home to plant.

SEED PAVILLION

SEED PAVILLION

.89

3.0 Design process/ prototyping1

Prototyping 1.1

Guide to the Museum

Download app Get discount coupon

Seed map

Take home and plant

Souvenir sustainable life

.90

Can museum visiting be more fun?

The museum provides a good service in terms of its permanent exhibitions. Visitors plainly enjoy their experience, enhanced by the excellent environment and unique courtyard layout. What else might make their visit both more enjoyable and more educational?

After visitors have visited the Museum and drunk the tea, they could take part in workshops, learn how to fire the tea leaves, how to recycle them after drinking, how to use their unique and beautiful shape in handicrafts. Visitors could learn from taking part in activities, feeling successfully creative when they have, for example, created a souvenir to send to friends using natural constituents derived from the tea tree.

Develop

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3.0 Design process/ prototyping2

PROTOTYPING 2

WORKSHOP

RECYCLE TEALEAF

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POSTCARD

BATH BAG Prototyping 2.0 In such a workshop, visitors could also deepen their knowledge of a wide spectrum of beneficial ethnobotany. For example, the benefits that tea leaves can give when made into a pillow, tea baths that help circulation and have a disinfectant property, tea cotton pads for removing dark circles under the eyes. This range of knowledge was available on the information board in the exhibition room and in a leaflet – but these are passive methods of education and might not engage many people. Using workshops might affect visitors’ behaviour more deeply, connecting ideas with physical objects. Things of value can be learnt and shared adding to the significance of the Museum’s space and increasing its reach.

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3.0 Design process/ prototyping2

100% GREEN LIFE

GREEN TEA PILLOW .94

Is it possible – using only what is to hand locally – to create a unique souvenir which the visitor could keep as a souvenir? Is it also possible that that souvenir might act to maintain communication between the visitor and the Museum once the visit is over?

The current leaflet which visitors can take away, but could this be combined with the tea product?

.95

Currently, after visiting the Museum, visitors can buy in the shop tea products or a book that outlines the history of the tea ceremony. However, these products can be bought elsewhere and there is nothing to distinguish the origin of such products and thus enhance a visit by provenance. It might be better if visitors could take away leaflets specific to the aspects of tea culture they find most interesting – perhaps leaflets linked to an audio or audio-visual experience – then it is more likely that such literature will add value to the visit and that it will later be shared with others. Importantly, such information would be of value because it is linked to the Museum experience. The tea product, its cultivation and culture, could have added value through this kind of integrated but nuanced information?

3.0 Design process/ prototyping3

I did some prototyping (see below, pages 97 – 113) based on this idea. I wanted to ascertain which souvenir was most interesting and suitable for visitors.

Discover

Define

Develop

Deliver

.96

Which factors

are important for tea packaing

An investigation into tea packaging

?

Ideally, packaging should contain certain key information. For instance, the product name, the net content, the name and address of the supplier, the place of origin, the date of packaging, the grade of quality and – in China – the Quality and Safety (QS) number that acts as a guarantee, a little like the French use of “appellation contrôlée”. This basic information should always be included on the packaging but some packages have none while passing themselves off as the best tea from the best area. Such packagers may play with symbols from Chinese tea culture to enhance – falsely – their perceived quality.

Different places and times give tea different qualities, tastes and therefore prices. Even from the same village, different tea estates do not produce the same quality. The season of origin is also important for judging tea yet such information is hardly if ever found on packaging.

Chinese tea story

Geographic information stating superiority

Chinese tea

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Taiwanese tea

3.0 Design process/ prototyping3

Importantly, customers rarely get the truth about the tea they are buying, nor would they understand what are the best times and places in terms of provenance. What is needed is not only basic information on packaging but also a stress on features like tea variety, details of the estate location and the picking time. Since the tea drinker not only notices the brand they trust but also might like a change such information could enhance customer choice.

Picking time

Ingredients

Korean tea

British tea

Nutrition Facts

Drinking method

Japanese tea .98

Based on this comparison and interviews conducted during my tea odyssey, I found that the time of picking and the geographical environment – specifically whether the product was organically and sustainably produced – were the first things customers considered. The drinking method was the second factor – how was the tea to be made – and other supplementary factors applied only to customers with specialist interests.

1 Picking time

Geographic information stating superiority

2 Drinking method

3

Nutrition Facts Tea culture

TEA QUALITY Tea story

HEALTH ISSUES

ADDITIONAL INFORMATION

.99

3.0 Design process/ prototyping3

LOST

picking time

Tealeaf information

geographic environment

manufacturing process

ADDITION drinking method

.100

Rough Prototyping 3.1 On this prototype package, the picking time is printed clearly on the front of the bag, and the geographic environment is presented on the back.

This includes details such as soil quality and climate. The aim of this prototype is to address the interview data that stressed the importance of picking time and environment.

PICKING TIME

GEOGRAPHIC ENVIRONMENT

.101

3.0 Design process/ prototyping3

Rough Prototyping3.2 Using the traditional packaging method to pack the tea (inspired by the Korean journey to the Oriental Medicine Museum in Seoul) means a tourist could take away product in packaging which adds value. Because different visitors will have different interests, so there could be different stories contained inside the packaging – for example, healthy drinking methods and nutritional information for tea lovers, the traditional tea story and details of the tea ceremony for those more scholastically inclined, a green tea journey game for children. At the back of the package, visitors can scan the QR matrix barcode using their phone to gain more information about the source area and Museum. The disadvantage is that packaging may be fragile and hard to keep intact.

Once the integrity of the package is lost so is much of the valuable information.

Traditional tea story for culture lovers

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80 c

1H

Suitable drinking season:

80 c WATER

Drinking notice ONE HOUR AROUND MEAL

SPRING

SUMMER

It contains information about how to administer the contents as well as the suitable period for drinking.

QR Code can be scaned

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3.0 Design process/ prototyping3

Stop twice for climing mountain

Stop once for studying in temple

Start here

Pick the tea shoot two steps forward!

Research tea tree,two steps back

4

?

5

6

7

?

8

11

10

9

12

13

Get tea seed!

Back to Japan earlier

Research matcha four steps back

28

25

24 ?

23

26

27

22

21

20 19

29

Stop once for rolling

18

?

32

congratulations!

Fruition

34

33

Forgot the tea scripture go back to the temple.

60

58

eh Cran

Stop once for lecture in korea

31

57

56 ?

Back to 48,practice again

55

35 36

53

54 Get the infuser, get another chace!

37 ?

52

51

15

17

elps

30

59

14 ?

Ready to back Japan

38

50

39

you

to fly

40

!

Run tea shop,won the money five steps forward

here

41

42

Go back to 32 for planing tea

49

Practiced tea ceremony, three steps forward

Learned steam tea get another chace!

16

43 44

?

Stop once for design tea pot

45 48

47

46

GREEN TEA JOURNEY GAME JAPAN

The green tea journey game for children, containing the information about green tea, its manufacture culture.

.104

Rough Prototyping3.3 Based on the disadvantage of prototype 2.2, paper may be too thin and fragile and so I changed paper into card.

It might be that printing a label such as “tea lover” would be too direct – the message could even be misconstrued – and therefore would put a visitor off.

.105

3.0 Design process/ prototyping3

Rough Prototyping3.4

“Respect the life of the tealeaf ” is based on the key idea of the Chinese tea ceremony – an idea I heard expressed by the tea expert in Wuhan. The aim of this prototype is to encourage people to move beyond seeing tea merely as refreshment and to respect the leaf itself. Just like the story printed on the tea towel, this prototype explains the entire life of the tealeaf and may therefore encourage visitors to cherish the contents and recycle them after drinking the tea.

Putting the tea cup together with the tea towel into the tea basket forms a simple picnic set, to be enjoyed anywhere.

.106

3.0 Design process/ Testing

Testing

Testing involves inviting a group of people, serving tea for them, then asking their reactions to prototyping and getting some feedback (see feedback for each prototyping).

.107

3.0 Design process/ prototyping3

PROTOTYPING 3

Tea basket

On the basis of testing all the prototypes and listening to suggestions from my peers, I made the final prototype. Compared with the previous prototype, the tea basket with the story inside is more attractive and easier to take away for visitors to the Museum.

.108

After visiting the exhibition, people can choose different stories, putting them into a tea basket and sending this to an appropriate recipient. This targeting may be effective because carried out by the visitor. For example, the ancient tea journey story for those interested in history, tea drinking methods for tea lovers and the green tea game for children. In this way, visitors share whatever knowledge they gained at the Museum with family and friends and let more people to know about both tea culture and the Museum itself.

Ancient tea journey story History lover Tea drinking methods

Tea lovers

Tea story Green tea game Children VALUES CAN BE SHARED

.109

3.0 Design process/ prototyping3

Cushion Under the basket there is a cushion to prevent the tea from breaking. On this cushion is printed the name of the tea product and information about the Museum. There is a link, a downloadable app for the Tea Museum website, so that anyone using the cushion can explore its origin.

/ useum.cn www.team isit our

y App, enjo nload tea web, dow Museum

e ther in offci tea toge

Museum web address and app

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PROTOTYPING 4 Tealeaf postcard There were no postcards available at the Tea Museum but these, acting as a cultural symbol as well as a souvenir for visitors, could be important. Instead of standard postcards visitors could personalise one using a tealeaf at the workshop and send it to their friends, deepening their experience of the Museum.

.111

3.0 Design process/ prototyping4

After a friend received the postcard they could smell the tea leaf and gain the strong and distinctive natural aroma that invokes its thousand-year story. There would be a tea leaf code number on the back of the card. If they wanted to know more they could log into the museum website, type in the tealeaf code number, and find out exactly the provenance of that leaf.

APP

Where it come from?

///////////////////// This tea ID number: 67345 ////////////////

Welcome to visit our Museum web to know more about this tealeaf www.teamuseum.cn/

Where this tealeaf come from?

Tea ID numberďźš

67345

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Tea leaf

Subtropical monsoon climate 16.2

76

120°11′24’ E 3 0 ° 1 5 ′ 3 6 ′ N

Hangzhou

Tourism History culture

They could also gain more information about the tea producing area by clicking on specific pictures. If this arouses their interest – as the pictures are designed to do – they might visit the museum and the region in turn. In this way, more people can be brought to a better, more individual and active knowledge of tea culture by the China Tea Museum.

Long Jing green tea is justly famous. It could even be called a celebrity among Chinese teas. The price is high but the true Long Jing tea is only produced in the Long Jing area of a mere 60 square kilometres and the annual harvest is relatively small.

Tea leaf

Hangzhou

Hangzhou, close to Shanghai, belongs to the Chinese Yangtze River Delta Economic Zone. This region has a high population density yet is also famous for an ecological niche that contains Long Jing – the Dragon Well – located in central Hangzhou. Long Jing has been made famous in myths and legends because of its stunning landscape and its production over millennia of green tea.

Even though Long Jing is located in an active economic development zone its natural ecology is highly protected.

Hangzhou 16.2

Tourism

.113

subtropical monsoon climate 76

120°11′24’ E 3 0 ° 1 5 ′ 3 6 ′ N

3.0 Design process/ Deliver

Discover

Define

Develop

Deliver

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SERVICE CONCEPT PRE-SERVICE

SEED

Bulid a seed pavilion in Longjing villiage - famous tourist attraction in Hangzhou

MAP

Register membership and get tea seed and map

COUPON

Download App, get discount coupon

SERVICE PERIOD

MUSEUM

Arriving at the museum following by map

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EXHIBITION

Visit exhibition

DRINK TEA

Free tea tasting after the visit

3.0 Design process/ Deliver

SERVICE PERIOD

WORKSHOP

Take part in “recycle tealeaf workshop”

POSTCARD

During workshop, make a tealeaf card send to friends

BUY TEA

Buy tea basket and finish journey

POST SERVICE

OPEN STORY

Open each one, it tells a different story

DOWNLOAD APP

RECEIVE CARD

Friends recive tealeaf card，then downlond app know more

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STORY BOARD Mr wang

Age:45

Tea visitor in Long Jing Village

Seed Pavilian

TEA MUSEUM

TEA MUSEUM

Seed

DOWNLOAD APP

DISCOUNT COUPON

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LongJing Village

MAP

3.0 Design process/ Deliver

FREE TAST

TEA EXHIBITION

POST TO HIS COLLEAGUE

WORKSHOP

HIS COLLEAGUE RECIEVE CART USE APP

CHOOSE STORY

Where this tealeaf come from?

Tea ID number：

67345

Choose different tea stories for

His child His wife

His father

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BLUEPRINT PRE-SERVICE

||||| Place Tea seed pavilion at tourist attraction

||||| Touch point Seed with map

||||| Tourist action

App

Get seeds /app from Tea seed pavilion at Longjing village

||||| Front stage

Using map on the seed packaging paper or app to arrive at the Museum.

||||| Backstage

Downlond app and gain motivation to visit

||||| Backstage

Create awareness attract attention

Tourists who did not go to the Museum, could get the seed and download the app and get in touch

POST SERVICE

SERVICE PERIOD

Museum Home/offcie

Tea basket

Tealeaf postcard

Visit Museum,taste tea,buy tea basket, make tealeaf postcard ,send to friends

Learn tea knowledge in the museum

Send this knowledge to friends through gifts

Inform

APP

Tourists drink tea together with their famliy and colleague.

Enjoy tea time with friends

Use app on the gifts to attract more tourists

Use and support, maintain relationship

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4.0 CONCLUSION

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4.0 Conclusion

Throughout this project, beginning in June and ending in November, 2012, I have benefitted enormously from a long and intense journey. I have deepened my research abilities, sharpened my design concepts and simultaneously been able to gain a fascinating insight into Chinese tea culture.

As I put together the project proposal I understood how people – those who will use what I design – should come first. Analysing people’s behaviour has taught me that it is necessary to consider this respectfully and carefully before starting any design. Such responsive observation helped me understand what problems I would face and know what kind of data I should seek before beginning the research. During my tea journey detailed information was achieved through interviews，observation and surveys. However, as I listened and observed and widened my understanding I also learnt the value of co-designing – communicating effectively and sensitively with the target is an important skill I learnt from those with whom I spoke and to whom I listened. During concept development –after having defined it precisely – a designer should have the ability to synthesise ideas and focus clearly on those problems that may weaken their ability to communicate. At the final stage of the service delivery after a significant, reflective process of rough prototyping, the output should be connected with the target – informed by them and needed by them – and a key consideration is to deliver the touch point successfully through the users, not merely to design attractive surfaces. At this stage, I have learned that it is not the final product that is most important, but, rather, the process behind it.

During my journey, I learnt a great deal about the Chinese tea ceremony and, in this sense, my project became a journey of self-cultivation. I met scholars who selflessly had made great efforts to sustain and pass on traditional culture. I admired and was moved by their work which spoke volumes to me as a designer. To be a designer responsibly – not only a service designer – means to recognise the duty to use design to improve society and allow people to become the authors of their own understanding and behaviour. In this way, I have always believed it is the responsibility of designers to do more than pass messages, however cleverly that may be done. Having met the scholars in China and listened to their analyses of the culture and art of tea – so profound yet also so respectful of others – made me compare myself with them. Their perceptions and almost spiritual detachment has allowed me to reassess my definition of design and thus of my own choice of design as a career. Most crucially, therefore, I have learnt to see the world from different and often strange points of view and then to take what I have seen and use it generatively. Design is no longer merely a career following a course – it is a conversation that is fascinatingly unpredictable and which has now an exciting trajectory.

.112

APPENDIX

APPENDIX A: The history of tea in China The origin of tea The tea tree has a 60 or 70 million year history and its origins lie in southwest China. This is a torrid, subtropical zone with extensive of primeval forests. A climate such as this is essential for tea and this region has the highest concentration of wild tea trees, most located in Yunnan, Guizhou and Sichuan provinces.

According to legend, Shen Nong suffered poisoning when he tasted various herbs but was detoxified after he ate a leaf from a tea tree.

Following this initial discovery of the benefits of tea consumption changed. First, in the Palaeolithic, people ate the leaves raw. Later, they drank the infused leaves as a medicinal soup. Then, under the Tang, tea began to be drunk as a beverage after boiling the leaf. Finally the culture of tea consumption evolved in tandem with China’s political and social development.

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Appendix

output to the world scholars and upper class

Qing Dynasty

common people

Now Ming Dynasty drank loose tea

Song Dynasty teahouse started

1949 Tang Dynasty drank cake tea

discover tea

Tang dynasty: Influenced by the growth of tea drinking in the south, tea quickly became popular in the north. The influence of Chan Buddhism – which enjoyed its classical period under the Tang – was one major reason for the growth in the art of tea. The processes of cultivating, making and serving tea matured and Chinese tea seeds and tea technology moved into Korea and Japan.

Song dynasty: The institution of the teahouse flourished in this period. A product of economic and cultural prosperity it became an important part of everyday life. Teahouses in this period proliferated and diversified, the owners laying great stress on the beautification of their premises. Some teahouses were decorated with flowers and paintings by famous artists, creating their own styles.

Tea competitions, both interesting and technical activities, became common practice among the nobility, the literati as well as ordinary people. The Song Dynasty was a stabilising period for China and more importance was attached to the civil service than to military affairs. Tea played an increasingly important role in this, with civil servants enjoying the “literati tea” graced also by distinguished scholars. These scholars wrote poems and odes to tea and advocated the tea banquet and parties and strict rules of tea etiquette.

.114

Ming Dynasty: In this period people changed from using cake tea to loose tea, a simpler process that – it was believed – preserved better the natural flavours of the tea. Both the Tang and Song Dynasties had practiced the boiling or infusing of “dust tea” but the Ming replaced this with a preference for the infusion of leaves in boiled water. These were epoch making changes in the art of tea.

During the Ming Dynasty, people attached more importance than their predecessors to the selection of natural environments and to the cultivation of their aesthetics. This is well reflected in their paintings, in which hermits play the zither and boil tea by limpid springs in mountains scenery: the synthesis of the sound and appearance of the spring, of the wind, the zither and the boiling water in the pot – or indeed while companions sipped tea while sitting opposite each other in a thatched pavilion, or alone facing green mountains or gazing at a vast river – generated a complex aesthetic based on tea. Once in nature, instead of being a merely material product, tea became a medium for a return to nature and a way to harmonise with it.

Qing Dynasty: This was the heyday of Chinese teahouses. Ubiquitous in both urban and rural areas, teahouses were indispensable public spaces for everyday life as well as for special social events. During this period a splendid and diverse teahouse culture grew as Chinese tea swept through the world in the early Qing Dynasty before the decline of the nineteenth century and the Opium War conducted by European imperialism. After the war, the export of Chinese tea continued to increase, often through Sino-European business channels in Shanghai, Hong Kong and Macao. In 1886, tea exports hit 134 million kilograms. As a bulk commodity, Chinese tea monopolized the world tea market yet shortly afterwards exports plummeted, as China gradually lost its overseas markets to India, Ceylon, Kenya, Indonesia and Japan.

Tea house in Qing Dynasty

.115

Appendix

The story of the Gothenburg, a famous ocean-going merchant ship of the Swedish East India Company, may be illustrative. She came to Guangzhou three times and on January 11th 1745 left on its voyage home with some 700 tons of Chinese goods, including tea, china, silk and rattan. The tea was in 2,677 boxes and weighed 366 tons. Eight months later, outside its home port, the vessel struck a rock and sank. In 1984, Swedish marine archaeologists discovered the wreckage and explored it, salvaging both china and the remains of the tea. The Swedish East India Company used eighteenth century techniques to reproduce the vessel and launched this in 2005 – the new Gothenburg retraced the voyage of the original made 260 years before.

Gothenburg journey map

Traditional Chinese scholars often decorate a room in their home as a study, where they read, discuss, and relax.

Although there were no established rules for the fumishings of such a study, the scholars mostly thought that a study should be tranquil,elegant, clean and comfortable. Such studies are ideal for tea drinking, accompanied with reading and writing.

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APPENDIX B: Health-giving attributes of different types of tea Differences in types of tea plants, seasons for picking and a variety of processing methods cause differences in the composition and amount of effective components in types of tea. This in turn leads to different effects and health-giving functions. According to tea lore, being naturally cool green tea agrees better with those who have excessive “yang” than with those who are deficient in “Yin”. Black tea, on the other hand, is mild and helps the spleen and stomach, reduces colic and aids digestion.

Oolong tea is neither cool nor strong and is suitable after oily, high fat or high protein meals with a notable benefit in lowering fat. White tea is cool, so helps when the weather is hot, while detoxifying certain organs and relieving toothache. Dark tea plays an important role in stimulating the appetite and decreasing blood fat and cholesterol.

APPENDIX C: The concept of tea art The art of tea can be defined as having three, interrelated aspects: technical, cooking or brewing skills, etiquette and the specific ceremony. While technique and etiquette belongs to the form of tea culture, ceremony demands the cultivation of a spiritual or philosophical dimension, a direction or manner in life. The profile of tea as art is based on associated philosophy and stresses the ceremony should rely on nature with the minds of those involved being as peaceful as still water. By extension, tea as art has a complex aesthetics, referring to environmental beauty, water and herbal beauty, and finally the figurative, symbolic beauty of a tea set.

The foundation of the art of tea is to understand and feel the purity of the tea leaf itself, responding to that purity by being grateful to the natural world for providing the tea and acknowledging the harmony generated among those who drink it.

APPENDIX D: The natural ecology of the tea tree Tea trees need warmth and humidity. The ideal temperature range is 18 – 25 degrees Celsius. Ideal annual rainfall is around1,500mm with humidity at 85%.

Sunshine is vital. Tea polyphenol – the most important product of the tea leaf – is produced as a by-product of photosynthesis. Long periods of sunshine are needed especially for the production of black tea.

Tea prefers to grow in loose soil with excellent drainage at a slightly acidic ph. While tea grows in a wide variety of soils the best ph is between 4.5 and 5.5. The gravel content should be under 10% producing a nutrient rich soil base.

The tea quality is higher in mountainous regions because of the excellent sunshine, temperature, drainage and humidity. At the appropriate height abundant rainfall, high humidity, strong light and significant temperature ranges between day and night are all beneficial for tea trees. The best elevation is around 800 to 1,200 metres which produces the sweetest teas. However, advances in agricultural techniques mean that it is increasing possible for tea trees to be planted in soilless culture.

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Appendix

APPENDIX E: Tea and the body and mind Green tea is cool and has the richest nutrition in terms of vitamins, tea polyphenol and amino acids. It tastes a little bitter and astringent and stimulates the stomach. People whose digestion is weak should drink this sparingly. In summer, drinking green tea is refreshing, just like the smell of fresh grass.

Black tea is weaker, tastes sweet and mellow and is not an irritant. It is good for the stomach and appropriate for drinking in winter.

Flower tea is suitable for the female physiognomy, especially during menstruation.

White tea is cool and refreshing, the process of making it does not involve fire or pressing with the leaves dried by the wind. Tea polysaccharide isn’t broken during this process and this has the function of treating diabetes mellitus.

Drinking tea and psycho-spiritual health With modern social developments people have been forced away from regular, healthier rest patterns by the intensity of competition. This has been invested by Qinghua University as a psycho-spiritual disease becoming of increasing concern in China. The usefulness of a distraction and relaxation is at the heart of the tea ceremony. From drinking to tasting to appreciating the aesthetics is a journey from taste through enjoyment to psychological wellbeing. 一碗喉吻润，两碗破孤闷 三碗搜枯肠，唯有文字五千卷 四碗发轻汗，平生不平事，尽向毛孔散 五碗肌骨清，六碗通仙灵 七碗吃不得也，唯觉两腋习习清风生 The first bowl quenches thirst, the second removes loneliness， The third bowl clears the mind, the forth relieves depression, The fifth cleans the stomach, the sixth bowl lets you soar to heaven But seven bowls cannot be taken – you will feel cold and drained and empty.

(Wenbo’s own translation, 2012) APPENDIX F: How to store tea It is often the case that top grade tealeaves are displayed under strong lights in a shop window or counter to attract customers while lower grade tealeaves are stored in the warehouse. This is not a good method for storage. Primarily, tea needs to be kept dry, the ideal moisture content for storage being 3% – 5%. Secondly, the temperature should be between 0 and 5°C. Finally, tea should be kept away from sunshine or bright light to prevent degradation in taste.

Generally the tea packaging shows that the guaranteed quality period is one year.

However, some teas such as the pu’er variety, increase their quality over time as long as they are kept in a dry place with low humidity. Kept dry and cool, tea retains or even improves its intrinsic taste avoiding the mould that changes tea chemistry.

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The senior citizen I met in Yunnan said storage could prolong the life of tea. He put down some pu’er tea after he closed his tea business and some he stored for nearly ten years.

This tea is called post-fermented because it allowed to ferment a second time. During this period the colour will become darker and the taste and smell will become smoother and mellower.

APPENDIX G: Season and tealeaf quality Tea picked before the end of May is spring tea, that picked from the beginning of June to the middle of August is summer tea and any picked later is autumn tea. There is a Chinese proverb which says “spring tea tastes fragrant, summer tea tastes bitter and autumn tea tastes sweet but insipid” and this makes clear that the season has a considerable effect on the tea’s qualities. Spring tea contains the abundance of nutrients gained through the winter, when low temperatures and weak sunshine improve quality: tea polyphenol is easy to form and remains in the leaf.

APPENDIX H: Making different teas at different temperatures A low temperature – between 70 and 80°C – is for green tea such as Longjing, Sencha and yellow tea. These teas are tender so boiling water would damage their nutritional value. A middle temperature – between 80 and 90°C – is best for tender shoot oolong tea, Lu’an Guapian tea and white tea. Finally a high temperature of between 90°C and boiling point is for oolong tea, completely fermented black tea and pu’er tea. The kind of tea most suitable for drinking when it is hot is Tieguanyin tea with a 50% fermentation, while other teas – such as oolong – should be drunk at lower temperatures.

Water temperatures can be judged relatively simply. When the temperature is around 95°C, the steam goes straight up. At a middle temperature of around 85°C, the steam undulates while at a lower temperature of around 75°C the steam is diffuse.

APPENDIX I: Different ways to make tea There are various methods to adjust the heat of the water / tea interface. In general, the rule is hot water first and tea leaves second. This method should prevent the leaves from being damaged by too hot a temperature. Sometimes half the hot water is poured out then the tea added then the pot is topped up with more hot water. It is possible to add hot water to the tea if the highest temperature is needed.

The way to make a good pot of tea is to allow the tea to draw for the ideal time. How to judge the time depends on the type of tea and the capacity of the pot. For instance, a small teapot draw approximately five times: the first soaking time lasts about 40 seconds to one minute, the second is shorter and so on. The best method involves practice, tasting regularly to ascertain how the taste is developing for each type of tea.

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Appendix

APPENDIX J: Tea soup aroma Aromas are different at different temperatures. Generally, the higher the temperature the more exciting is the bouquet. Fragrances of course vary as widely as the teas themselves from bitter and astringent to sweet. The aroma can be senses before drinking or while the tea is move around the mouth – the similarity with the tasting of wine is considerable.

The aroma is strongest after the first time the tea is brewed and its aftertaste can be enjoyed in the mouth once the tea has been swallowed. The palate is the most sensitive to experience the bouquet and the stronger it is the longer it remains on the palate.

As tea cools the flavour changes to one that is bitter and astringent. Bitterness disappears quickly because this belongs to the leaf’s natural character but astringency lasts longer and suggests the quality of the teal is not good or has been poorly manufactured. As the tea cools further, the taste becomes sweeter.

The process of judging the aroma of the tea reflects on the meaning of drinking itself. Life may be like such flavours, with sweetness sometimes produced after bitter experience.

APPENDIX K: Teacups and health Various cups may be chosen to drink tea but some may be bad for the health. For example, the plastic cup contains LDPE (Low Density polyethylene) or PP (polypropylene), chemicals with poor thermo-stability. This means harmful chemical substances could be produces once hot liquid is poured into the cup and these could lead to alimentary problems and difficulties with the cardiovascular system or the nervous system and hemopoietic growth problems. Plastic cannot be washed thoroughly like glass or porcelain encouraging bacteria.

If leaves soak in hot water and a constant temperature – perhaps in a vacuum flask – the vitamins, essential oils, theophylline and other nutrition will volatilize. Not only will the nutritional value be significantly diminished but the flavour will become unpleasant especially that of the green tea.

The best receptacle is a white porcelain pot for green tea, since green tea does not need high temperatures and porcelain allows heat to dissipate while the tea diffuses its delicate fragrance. Dark red enamelled pottery has excellent heat preservation qualities and can make black tea give out a mellow odour. Such pottery is preferred by the tea enthusiast because it has minute pores and high density. This allows the porcelain to absorb sweet fragrances and maintain them. The material for this pottery is a rare clay, a non-renewable resource and its main composition is mica with other minerals. Such pottery needs to be rinsed well and cared for. Tea enthusiasts believe that tea has a soul so that rinsing cups and preventing any dirt, mildew or discolouration suggests the process of cleaning yourself and gaining self-cultivation in the process.

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Appendix

APPENDIX L: How to understand the “empty silence” of the tea ceremony

1

This concept is intriguing – in western terms it is also a monastic concept, one that brings to mind ascetic contemplation. When you drink tea, emptiness suggests having no distracting thoughts and silence suggests simplicity. This “empty silence” is epitomised by the tea courtyard outside the tearoom itself but still connected with it.

This special place enables drinkers to achieve a calmness by removing distractions.

The tea courtyard calls to mind remote mountains or fields and allows drinkers to keep a quiet and appreciative frame of mind.

APPENDIX M: The five senses during the tea ceremony Hearing: the sound of the boiling water, of the tea set, of any background music or performance; Tasting: the tea’s most important gift is its taste; Smelling: the aroma of the tea and its brewing as well as the smell of accompanying incense that helps generate the appropriately ritualistic environment for the ceremony; Seeing: the four key decorations are the tea, calligraphy and painting，flower arrangements and the shape of the incense as it burns. The material for the flower arrangement can also be plant leaves, dead wood and fruit or nuts. Composing all these elements into a beautiful artwork creates a visual that brings the tearoom alive.

Feeling: The objects that comprise the tea set – the porcelain – and the natural textures of the tea leaves and of the flowers and other arrangements can be felt, building a sense of sensual connection to the ceremony and its culture.

APPENDIX N: What time is ideal for drinking tea?

The best time for drinking tea is one hour after a meal. It is not good within a half hour either side of eating because tea polyphenols have a chemical reaction with food nutrients and limit their absorption. The only reason to drink tea at these times would be as part of a weight-loss regime. It is inappropriate to drink tea at night because it contains about 3% caffeine. Menstruating or pregnant women should not drink too much tea or choose just tasteless tea otherwise tea might encourage anaemia.

Taste

best time to drop water into another cup

become bitter

serious bitter 1~2 Min

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5 Min

Time

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