Regional Culture Design
The concept of regional cultural design was first proposed by L. Mandelford in the era of the proliferation of internationalist design styles, but it has not attracted the attention of the outside world. It wasn't until Bernard Rudolfsky held an exhibition called "Architecture Without Architects" at the Museum of Modern Art in New York in 1964 that the concept of regional cultural design came back to the public and became popular. society's due attention.
"Local culture" is a long-standing and unique cultural tradition in a specific region of China, with a deep regional imprint. The "local culture" rooted in various local attributes and endowments is an important resource for the development of cultural tourism.
The core of the realization of "local culture" lies in the integration of cultural tourism products and the innovation of consumption scenarios, the continuous creation and transformation of cultural tourism resources, and the enhancement of the charm of cultural tourism destinations.
Difficulties and pain points of "localization"
Although the "localized" business layout is booming and the potential value is constantly being discovered, there are still many problems, which are mainly divided into two levels:
1. Upgraded consumer demand brought about by changes in major consumer groups
As the economy develops, the consumer base has also undergone structural changes. The post-90s and post-00s have become the main consumers. Behind the labels of "Internet Generation" and "Generation Z", there is a change in the concept of being keen on checking in, focusing on experience, and emphasizing self-worth and self-identity.
That are homogeneous and do not have outstanding highlights are prone to fall into the dilemma of "nothing to visit" and "no memory point", and are more likely to be "abandoned" by consumers. Therefore, the theme pavilion needs to constantly innovate, actively add novel and interesting experiences, and retain consumers.
2. Homogeneous space scene, losing effective competitiveness
In addition to being reflected in the "tangible" framework, the "localization" design is more partly displayed through "intangible" services and experiences. However, in the display of space scenes, it is often encountered that the cultural excavation is not deep enough, and the scene expressiveness is poor; various types of culture "hybridize", losing the focus and appeal of space; simply cutting into culture and stacking elements, it is difficult to continue to write a complete space story and other issues.
Today, when the experiential economy has become the mainstream of business development, how to use localization to link local consumers and immerse consumers in the commercial atmosphere is a problem that businesses must consider when creating scenarios and introducing business formats.
To a certain extent, the nation and tradition with diverse humanities, local customs, and abundant land and resources provide a continuous source of inspiration for business, and the significance of showing the cultural characteristics of the local city is also particularly meaningful. Culture is the first step to attract people, tourism is to drive the flow of people, and commerce promotes consumption. The three have their own value attributes, and together they empower each other to upgrade to the value release of "1+1+1>3".
DXDF Art x WeiMuKaiLa
The wax figure theme museum uses "local culture"
Create a "super IP" for the city's external image
The "2021 China Consumer Trend Report" pointed out that "custom characteristics", "new national style movement", and "national tide" are promoting the blooming of characteristic culture in various regions of the country, forming a richer and more diverse style expression. From "localization" to "fashion integration" and then to "super IP", natural humanities, national culture and creativity have all entered a new stage.
The WeiMuKailA Wax Museum has been opened, bringing consumers a city's commercial culture "tribal belonging place". The curtain opened, and the Wax Museum seeks the root and soul of the local city. In the integration and innovation of the wax figure theme museum, it transplants, extends, and integrates into the local culture to stimulate the commercial potential and intangible value of the local city.
The WeiMuKaiLa Wax Museum in Guangzhou
A Bold Attempts to Combine Culture, Tourism and Fashion
The designer hopes to make the Wax Museum into a humanistic tourism business card that showcases Cantonese culture, presenting a visual feast and a spiritual palace for citizens and tourists. In order to highlight the local culture, the wax museum has put a lot of effort into inheriting and displaying the "Guangfu culture" of Huacheng. The creators hope to embody the inheritance and dissemination of culture in the language of the wax museum, telling tourists about the "Guangfu culture", knowing Guangzhou through the Wax Museum.
Wing Chun, represented by Ip Man, and Hong Quan, represented by Huang Feihong, through the demonstration of traditional Lingnan martial arts, visitors can also practice on the wooden dummy. Introducing and displaying local architecture, Cantonese opera, food, herbal tea and other elements, presenting tourists with an accessible way to experience Lingnan culture. Through the concentrated display of local time-honored brands in Guangzhou, one can get a general understanding of the humanities and commerce of Guangdong from the late Qing Dynasty to contemporary Guangdong culture.