早期台灣畫廊的經營者，多是美術系所畢業或研習美術相關者。當時因畫廊尚未形成一個產業，經營者因為擁有人脈和資源，彼此集中性高，所以在經營管理上趨向封閉，集中與被動。 八零年代當國內經濟的自由繁榮發展，台灣社會對藝術的需求漸增而促使畫廊產業化時，就關鍵性地決定了台灣畫廊業是「需求導向」的產業。由於是需求市場導向，各家畫廊買賣交易的畫作內容就容易呈現相當的一致性，於是畫廊紛紛投入經營本土藝術家。到九零年代達競爭激烈，然後到了千禧年後隨市場焦點的轉移到中國當代、亞洲當代、和台灣當代藝術的經營，擴大的經營區塊使台灣畫廊業面臨許多考驗。其經營模式從被動走向主動，從被動式提供展覽場地到積極規劃畫廊內展覽，積極介紹推銷畫作，建立收藏家名單，畫廊之間彼此競爭。這批台灣畫廊第一代經營者的模式，主要著眼於強調培養並建立與本土藝術家如同家人般緊密的人際關係，憑靠長期積累建立的關係以人情價取得作品，再參考二手拍賣市場，以當時屢屢升溫的行情價向收藏家賣出。 中國熱在全球發酵，中國藝術家成為新收藏標的，藝術市場的規模及消費能力一躍千里。本研究的目的是先分析藝術家、畫廊、收藏家、拍賣公司、美術館及學術界之間的微妙關係，更進一步的幫助畫廊找到其關鍵核心能力，建立畫廊品牌並且鞏固自己的人脈。最後探討台灣畫廊如何面對亞洲藝術市場的成長，順應趨勢來調整方向？哪些異質性創新決定了畫廊競爭力？及如何運用策略性思考達到永續經營的方向？ / Prior to the 1980s, art galleries are mostly owned and run by arts students and practitioners. In those days, galleries have not developed as an economic sector. Their business was heavily relying on the owners' personal resources and connections. It was therefore inward focused in management and outlook. Demand for art works increased as Taiwan's economy prospered since the 1980s. It has led to the industrialization of galleries in Taiwan, fundamentally defined it as a "demand-orientated" sector. Because of this demand-orientated nature of the sector, art works that form the subject matter for the sales by the galleries have become similar across the sector. Galleries have therefore striven to scout for local artists whose works may be marketable. Competition within the sector has turned fierce as it evolved into the 1990s. And, as the sector went into the 2000s, with the opening of the market in mainland China and elsewhere in Asia, focus of Taiwan's galleries has further expanded. The way galleries are run have evolved from passive to active business development. Exhibitions, promotional tours, and formation of collectors' groups and lists abound. Competition is intense. This is markedly different from and more transparent the way of the first-generation of these galleries, which relied often solely on personal connections and a model in which profits are taken from the gap between the secondhand market and that among the private collectors. In recent years, works by mainland Chinese artists have been sought after extensively. The economy of scale of the market for art works and the financial resources devoted to such market have multiplied. This research studies the delicate relationship among artists, galleries, collectors, auctioneers, museums and the academia. It is hoped that this research will help Taiwan's galleries in their development of core competency and network . Last but not least, this research also seeks to explore questions such as how Taiwan's galleries can benefit from the growth of Asia's market for art works, what features are to determine galleries' competitiveness, and how such features and strategic planning can help achieve sustainable trading?

通用設計是一以人為本之設計趨勢，在高齡社化社會來臨、全球化競爭衝擊下，消費者習慣及市場變化與過去大不相同，如此重視人本關懷之設計理念亦愈受重視。通用設計理念跳脫了過去的無障礙空間之框架，更廣泛的關懷所有不同能力之使用族群，達到滿足大多數人需求之設計。如此設計理念應用於產品亦或服務，都可以擴大其適用之使用族群，達到提供者與消費者雙贏之局面。 本研究採用多重個案研究法，將服務業區分為強調人機互動之硬服務、強調人人互動之軟服務以及無遠弗屆之e化服務等三大面向，透過國內外不同服務個案之介紹與分析，檢視通用設計七大原則於此些服務業之應用，並依據個案分析結果，歸納出通用設計應用於服務業將如何體現，並提出如何有效將通用設計應用於服務業模式中。藉由本研究之個案探討，真實反映出目前不同服務領域通用設計之應用狀況，另一方面則可以提供相關之服務業者作為其設計之參考方針，進而發展出不同層面之通用設計應用模式。 本研究結論如下： 1、將通用設計運用在產品與服務時，其最大之不同在於通用設計原則所應用之範圍，以及接觸的使用者範圍。 2、因應環境以及文化之變遷，將通用設計應用於服務業與過去傳統服務業最大不同處在於目標族群的變化。 3、通用設計原則應用於服務業模式可以從完整服務之組成四大要素：「環境」要素、「實體產品」要素、「顯性服務」要素、「隱性服務」要素來思考與切入。 4、當企業以普哈拉創新法則與體驗經濟之角度設計服務業時，與將通用設計原則貫徹於服務業中之表現具一致性。 5、多數企業由提供產品概念轉為提供服務可視為是一種通用設計趨勢下之思維轉變。