觀看過去一般台灣連鎖商場事業，在「坪坪計較」的選體模式下，匯聚眾家精品名牌為商場舞台燈之所在。而在創意經濟潮流之下，漸漸的，許多添加了在地智慧與職人精神的在地品牌與新銳設計開始有機會露出於通路商場之中。當商場中的進駐品牌，背後都有他有意思的地方時；當商場越來越不像商場的時候，成為一個文化場域時；當商場內的體驗活動，無形中讓顧客主動的參與度變得更高時，這時候顧客就願意停留在這個地方更久，與這個地方產生連結感，並創造難忘的回憶。 總是聽說「文化是好生意」，而商場如何運用在地創意生活事業家的智慧與成果，以通路力量將這些吸飽風土涵養的微型文創送上舞台呢，更進一步成為台灣對向世界的文化櫥窗呢？而商場更要擁有什麼樣的能耐與經營模式讓顧客感受到在地創意生活的魅力，進而達成其營運價值與目標？故此，本研究由此著眼，主要探討三項研究問題。 一、複合式創意生活商場與進駐品牌之互動特點？ 二、複合式創意生活商場中，其營運組織之特色？ 三、複合創意生活商場與顧客的互動關係？ 為了解複合式創意生活產業，如何運用體驗經濟思維創造在地文化場域，因此選擇以台灣在地生活為商場營運提案之兩家企業：誠品生活松菸店與林百貨，作為個案研究對象。 本研究發現，創意生活商場主要以開發在地創意生活潛力品牌為選題邏輯，也因在地品牌與商場有深刻在地情感連結之下，願意相互配合，而商場透過其空間力「撫育」品牌，也強化未來商場匯聚品牌之力道。在經營面向上，創意生活商場需要結合商場組織與成員之經歷與學習，將知識轉移成為商場經營核心能耐，而最後需要以創意生活商場為互動平台，創造商場、進駐品牌與顧客之互動，例如主題式活動或體驗販售，以體驗共創來為三方帶來價值，而商場群聚有共同體認者，進一步能成為在地美學社群。 / The term “Experience Economy” was first delineated in an article published in 1998 by B. Joseph Pine II and James H. Gilmore, named "The Experience Economy". In it they described the experience economy as the next economy following the agrarian economy, the industrial economy, and the most recent service economy. In the trend of experience economy, or so-called “Creative Economy”, people place a high value on local experience and craftsmanship in shopping mall instead of caring the size of the space solely. On these conditions, the concept of traditional shopping mall has been transformed into “Creative Living Mall.” Creative living mall operates businesses that orchestrate memorable events for their customers, and that memory itself becomes the product — the "experience". In order to understand how to better leverage the value of experience and memory in creative living mall, this study attempts to discuss the dynamics between creative living mall operators and the brands, the interactions with customers, and the organizational management. Two cases investigated in this study are eslite and HAYASHI. This thesis shed lights on the importance and the meaning of co-creation of memories and experiences in creative living mall. Literature review and in-depth interviewing of the one-year long research led to the following conclusions. First, creative living mall and local brands are emotionally connected to achieve co-existence and co-flourishing. Therefore, co-existence can then offers to both malls and brands enormous growth potential. Second, the operating teams of malls come from diverse and extensive related expertise background. These local and cultural working experiences combine to create precious knowledge and know-how, and further build core competence. Last but not least, this study concludes that customers, malls and local brands are the essence of the value creation system. This value system can further create an environment that fosters the formation of aesthetic community.

遊戲是人們在成長過程中必經的一環，每個人對於遊戲皆有不同的體驗與感想，過去，遊戲產業曾經歷一次重大的變革，當網際網路在台灣大量普及後消費者除了傳統玩具及遊戲以外，多出了更多從事休閒的選擇，例如線上遊戲、網頁遊戲、網路影音串流、音樂欣賞等，加上社群軟體如Facebook等大規模成長，社群遊戲、及移動遊戲大量佈局，改變消費者的科技使用習慣。然而，現今消費者透過電腦或平板等作為新興的休閒娛樂與教育平台，雖然提供豐富的內容、聲光效果及高度互動性，但卻受到螢幕與感測技術的限制，只能得到「扁平」的遊戲體驗，於是乎，近代休閒娛樂的發展迎來了新的一波變革，就是「將人們從線上遊戲世界帶回現實世界」，基於這個理念，許多的新創團隊朝實境遊戲發展，密室逃脫工作室如雨後春筍般出現，其他類型的實境遊戲工作室也一一運轉，各家廠商找出創新的模式提供娛樂商品，新興休閒娛樂商機也就因應而生。 本研究著重於歸納各類實境遊戲業者提供遊戲體驗之方式，以及新興實境遊戲產業之商業模式，第一階段利用 Osterwalder and Pigneur（2010）所提出之商業模式分析圖，利用九大構成要素為基礎，向兩家標竿企業做深入訪談，並將兩家商業模式做分析整理；第二階段，未能安排訪談的企業則以報章雜誌的訪談專欄結果、及網路二手資料進行歸納。第三階段立基於上述分析得到的結果，找出實境遊戲之特性，並以矩陣方式呈現實境遊戲市場之可發展方向。 本研究結論的部分包含： （一）探討笨蛋工作室之商業模式，其成功因素及可改良方向。 （二）探討城市尋寶Riddle City之商業模式，其成功因素及可改良方向。 （三）總結實境遊戲沈浸式矩陣模型之結果，觀察結果有利於實境遊戲產業新進廠商未來發展方向、或是提供既有業者經營模式變革之建議。期望這份研究能協助實境遊戲的發展。 / Gaming is a necessary experience while growing up. Everyone has different expectations and experiences with games. In the past, there was a huge revolution in the gaming industry. Initially people could only choose traditional toys and games. However, with borderless online communication becoming more widespread, people now have greater entertainment choices such as online games, mobile games, live video stream, and music. Additionally, with the development of social media platforms such as Facebook, consumers have changed their technology using habits and information seeking methods. Nowadays consumers view laptops and tablets as an emerging platform for entertainment and education. They provide abundant contents, sight and sound effects, and high interaction. However, it is restricted by technology and bounded by monitor and motion sensors. Consumers can only immerse in a flat two dimensional gaming experiences. As a result, there has been another revolution, "Bringing people back from the online world to reality." Based on this thought, many reality game studios have sprung up in Taiwan bringing with them room escapes, attraction riddles, virtual reality games and augmented reality games. Firms are trying to find new business models to offer new forms of entertainments. This research emphasizes on generalizing a conclusion from all kinds of reality games, and observing their business models. During the first stage, we chose two famous reality game studios to interview and applied the nine elements of Osterwalder and Pigneur's business model(2010) into interview guideline. We then concluded and analyzed their business models. In the second stage, we chose another 7 cases to help us see the whole picture of reality game market and inducted these 7 cases by second hand informations. At the third stage, we summarized all the research to develop a reality game immersion experience model. So there are three main conclusions of this research: 1. Business model of Stupid Particle Studio. provided analysis results and management advice. 2. Business model of Riddle City Studio. provided analysis results and management advice. 3. Insights from the reality game immersion experience model. These insights can help firms to find their current position in the reality game market and find the possible development direction in the future.