ABSTRACT Today our economic competition faced great challenges because of international economic reform; meanwhile .Knowledge-based Economy. has already become a major trend in this age. Thus why our economies scrambling to catch on to the strategy of value added growth by combining high tech service and cultural creative contents. The way to get the master key to this is to get the right creative people to work on innovative projects and produce highly value added products. According to Florida.s theory¡]2003¡^¡uThe demographics show it is critically linked with the location where can attract and keep the talents. Provide for the needs of new Creativity that requires 3T: Talents in living in Tolerant and Technically supportive Clusters¡v. Set up a Cultural and Creative Center is one of the major goal of . Challenge 2008¡GThe National Development Plan in Taiwan. ; and currently the most important issue is the adaptive reuse of five deserted industrial wineries in five cities . This thesis emphasized mainly on the operation strategies of one case study¡GGranville Island District in Vancouver, Canada. The reason is: Granville Island District is one of the most successful projects in North America. The planning and designing objectives were to reuse the industrial and warehouse buildings by changing them into multi-use structures. The plan also focused on maintaining the industrial feel of the island while introducing a range of cultural, educational, commercial and some industrial uses. The research discovered from Granville Island District.s lessons that Granville Island has succeeded, not only by focusing on a coherent master plan or a theme park like design integrity, but through maintaining its flexibility as it has grown institutions, business and places from within ¡Ðserving a broader and broader set of users. The Granville Island District.s success story can be used as a best example of Hua Shan Cultural and Creative Industry Center.s future development plan.

Chinese firms in the cultural and creative industry (CCI) are substantially entering the global business landscape. But research on the motivation of Chinese enterprises’ internationalization mostly remains in the traditional industries (e.g., manufacturing and mining). Therefore, this thesis aims to explore the determinants of the internationalization of firms in China’s CCI. The empirical analysis is based on a qualitative case study of ByteDance (China’s CCI “national champion” firm and TikTok’s parent firm) via interviews and second-hand data. Our findings suggest that firm-specific advantage is an essential driver for Chinese firms in CCI to engage in internationalization. Our findings also reveal that top managers’ national sentiment promotes the internationalization of CCI enterprises in China in order to enhance cultural exports, and government encouragement of cultural exports motivates thesefirms to internationalize. However, we identify that from the host-government perspective, cultural exports can turn into a liability, which creates barriers to and hinders Chinese CCI firms’ internationalization. Our findings provide fresh insights into the determinants of the internationalization of firms in China’s CCI, which contribute to the literature on internationalization, particularly on emerging-market firms’ internationalization.

Develops the cultural and creative industry is the main policy of the Taiwan government in recent years. Entrepreneurial as cultural creative industry in different stages, what an opportunity, resources and entrepreneurial team to influence an entrepreneurial activity, this is a main topic discussing in this research. This research topic¡¦s is focus on an opportunities, resources and entrepreneurial team. To perform a new business that should existence the natures both of dynamic and complexity. Furthermore, to had sort out three issues within internal factors, this expect to awareness what the differences between with opportunity, resources and entrepreneurial team through this research as well as tries to understand the entrepreneurial team how to respond it when opportunity and resources change in the different entrepreneurial processes. And other, this research had been analyzed an entrepreneurial team how to influence by these factors. The results obtain from research that social culture, industrial environment and technological progress still influencing in the first stage of entrepreneurial processes obviously. Under the social culture's vicissitude, people's life accomplishment had been promoted; the most of people are pursue to balancing between the life and culture. Thus, this makes the industrial environment have to the change, in other, the traditional creators should out of box as well, and establish a model of culture creativity. Entrepreneurial processes within gestation stage, it had emphasis the entrepreneurial team's composition and characteristic. Prior knowledge and shared values have influence obviously in this stage. It can be explain that entrepreneurial team's composition has complementary or similar in the prior knowledge. Let the members of entrepreneurial team no matter can complement one another in the communication or the specialty. Because they can be share their values with other into the team members, to conduct and policy-making standard. It should reduce the nonessential conflict. Finally, entrepreneurial processes within infancy stage that can explanation as the competitive advantages of entrepreneur from intangible assets. Intangible assets are from philosophy, annotation technique and style of creator. In this way, creator's intangible asset is not the tangible asset or the organizational capability can substitute.

在全球的經濟型態逐漸將重心由知識經濟轉向創意經濟的背景下，台灣政府也開始正視文化創意產業的發展，並於2010年通過文化創意產業發展法。另外，文化創意產業中的商業運作過程與價值網絡的建構，也從如何自個別企業「點」的效應，擴散成完整產業的「面」效益。因此，使文化創意產業持續擴張，是現階段台灣所面臨的關鍵。 在專業分工的策略、知識與創意工作者的高度流動的考量下，委外成為企業可取得資源的方式之一，過去在製造業以成本為考量的委外思維的下，創意該如何委外，可以複製過去經驗或是開創新局是本論文之研究動機。 個案選擇上，由於文化創意產業類別差異極大，本研究選取設計產業的代表：廣告設計與工業設計產業進行個案交叉比對，期望能夠透過創意與委外流程的關係（包含動機、決策點與執行）欲探討在文化創意產業中：（1）在廣告設計與工業設計中，其委外的動機與創意的關係是什麼?在此兩產業中有何異同? （2）在廣告設計與工業設計中，委外的執行與創意的關係是什麼?其關鍵成功因素是什麼? （3）在廣告設計業與工業設計中創意能被持續委外的關鍵因素是什麼? 本論文的研究結論包含：（1）企業欲將創意委外的動機來自於內部認定之創意價值低、專業能力缺乏，或與所占產業位置有關，視產業別不同而有所差異。此外，創意需可於市場取得且具成本效益時，企業才有將創意委外的可能（2）委外創意的動機在於其委外利益與組織目標能相符合（3）創意能被持續委外的關鍵在於廠商認知創意本質具收斂性，透過委外雙方的有形與無形的契約與信任，為終端市場客戶提供完整的服務。 / Under the type of global economics transferred from knowledge economics into creativity economics, Taiwan government has begun to take serious and to focus on the development of creative industry, and also passed the law of creative industry development as well in 2010. At the mean while, the business model and the construction of value network of creative industry, has expanded from individual enterprise to whole industry. Therefore, how to enlarge the boundary of creative industry is the key issue that Taiwan is facing right now. Considering the strategy of specialization and the highly transferring of knowledge and creativity human resource, outsourcing has become one way of getting resources in the enterprise. Cost down is the major cause of outsourcing in the traditional industry, so the motivation of this thesis is how to outsourcing the creativity? Is it possible to copy the past successful experience? Or it should be done by another brand new way? Due to the category of creative industry is very different, so in this thesis, it chose the most two representative design industries belong to creative industry, which are advertising design and industrial design, to compare cross over each other. Expecting through the relationship (including motivation, strategy and execution) between creativity and outsourcing, to discuss in creative industry and find out: (1) What is the relationship between motivation of outsourcing and creativity in both advertising design industry and industrial design industry. And what is the difference in these two industries. (2) What is the relationship between execution of outsourcing and creativity in both advertising design industry and industrial design industry? And what is the key successful point? (3) What is the key reason of creativity outsourcing continuously in advertising design industry and industrial design industry? The conclusions of this thesis are: (1) The motivation of creativity outsourcing is relevant in valueless creativity inside the enterprise, poor of professional ability, and different positions in the value network in the creative industry. (2) The motivation of creativity outsourcing is that the benefit of outsourcing can match the goal of organization. (3) The key point that creativity can be outsourced continuously is because it is realized in the enterprise that creativity has the convergence nature. So by the trust of tangible or intangible contracts, it will supply complete service to the end customer in the market.

當創新不再被視為全新的發明，而更近似於既有資源的重新組合，資源重組（recombination）便成為創新的重要來源。當企業的資源有限時，有一派學者主張運用隨創（bricolage）概念，就地取材地為既有資源賦予全新價值。不過，當組織內部的資源不多，重組之後所得到的創新也相對有限。因此，另一派學者主張從組織外部連結跨域資源，整合各方之長的仲介（brokerage）觀點，在許多知名企業紛紛採用之後，霎時之間蔚為主流。然而，過去對於仲介的研究，大多聚焦於資源重組的過程，卻忽略了企業所面臨的情境制約（constraint）。 有別一般的困難，制約根深蒂固於情境（context）之中，涵蓋的範圍極廣，單一企業往往難以獨力排除，故問題解決（problem-solving）的思維不易奏效。企業如何在制約之下發展創新，是過去的研究較少著墨之處，因此我們對於企業如何回應制約的瞭解相當有限。本研究由制約對創新者的影響切入，強調創新者如何在制約之下仲介資源，並且創意地回應制約，進而發展出「借力使力」的仲介方式，不僅化解制約的阻礙，也透過資源的重新整合，從既有的資源中創造新的價值。 本研究選擇國內某知名媒體集團A公司旗下的B集團為個案公司，B集團深耕活動事業多年，媒體背景為其建立廣博的社會網絡，使其在仲介各方資源時更加順利，因而發展出與眾不同的創意回應。本論文的研究問題為：「企業在面臨制約的情況下，如何仲介資源以回應制約？」本研究以個案公司在2009年底至2010年初所舉辦的梵谷畫展作為研究個案，深入企業以訪談法蒐集資料，採用詮釋型的質性研究方法，分析策展人如何仲介各方資源，借力使力地回應情境制約，使展覽順利舉辦。最後，本研究從策展人回應制約的仲介歷程中，歸納出三種創意回應的設計原則。本研究於學理上的貢獻有二：首先，本研究呈現創新者在制約之下的仲介歷程，補強過去研究較少著墨之處，進而豐富仲介理論的內涵；其次，本研究將創新者透過仲介作為回應制約的過程，作為一種創意回應的形式，進而豐富了創意回應的理論意涵。 / When innovation is regarded as resources combination rather than novel invention, recombination therefore becomes the origin of innovation. One school demonstrated the concept of 『Bricolage』, which transfers existed resources into new values, however, it would be limited if resources are insufficient. The other school referred to 『Brokerage』, which brokers the resources outside the organization and creates new combinations through diversified resources. Nevertheless, most of relative researches focus on the process of recombination, which led to disregarding the constraints met by enterprises. Unlike normal barriers or challenges, constraints in the context are hard to removed for enterprise with insufficient resources. Due to the pervasive effectiveness of constraints, the problem-solving concept may not work well when it is applied to this issue. That is to say, how enterprises innovate under constraints is the issue neglected by past researches. Hence, this research mainly focuses on how innovator brokers diversified resources to respond to constraints creatively. Then we find that a type of brokerage named 『leverage through brokerage』. By this type of brokerage, innovators could respond to the effectiveness of constraints, and create new values through the recombination of existing resources. This research chooses B group, which belongs to a leading media company in Taiwan, as our research case. Rather than ineffective problem-solving ability of enterprise, this research cuts to the point from the effects to innovators in such constraints. B group has devoted into curation industry for many years, it tends to be easier to broker resources from different stakeholders and develop unique creativity since its media background and wide social networks. This research explains: When an enterprise confronts constraints, how does it broker resources to respond such constraints? This research chose 『Van Gogh exhibition』 held from 2009 to 2010 as a case study, adopting deeper research by interviews and using interpretation as qualitative research method, trying to analyze how curator broker resources from different stakeholders and leverage them to respond constraints. Finally, this research generalizes three creative responses as design principles from the curator's responding process to the constraints. The findings of this research demonstrate two academic contributions: (1) Different from past research, this case focuses more on the process of the brokerage when an enterprise try to innovate under constraints, therefore enriches the Brokerage theory. (2) This case concludes the process of curator's responding to constraints through brokerage as a way of creative response, hence complements the creative response theory.

Abstract The economical pioneer of new era ¢w The cultural and creative industries become the chief pattern in New Economy. I take the example of ¡§bridal photography industry¡¨ which is deep into the Chinese culture, and still act as a role model after going through industry life cycle, to found a successful pattern for cultural and creative industries. The applications to the cultural and creative industries from the key success factors in bridal photography Industry are as follow¡G 1. The cluster effect is shown not only in the ¡§bridal photography street¡¨ but other kinds of cultural and creative industries. 2. The vertical and horizontal integration concepts in the wedding industryi chain can be applied to cultural and creative industries, it can create more production value for the firm ¢w for the cultural and creative enterprises, ¡§industrialization¡¨ is the key point, to make it work, the enterprises should dropped their preconceived ideas and cross their limitation, thus they could compete with each other under the developing process of industry. 3. Value-added application ¢w First--Differentiation¡Git makes the bridal photography industry become the specialty in Taiwan; Second--Duplication¡Xstandardization¡Bhigh level expression and module¡Gwhile considering the booming expansion, cultural and creative industries can learn from the concept of cost-down in mechanical industry, that is, make their product duplicable, come off the hand-made, and develop successful module; third ¡V Authorization. The original creation process of cultural and creative industries is extremely tough, if they can use the authorization well, then they should create more production value and influence. 4. The technology urged the industry to go for two extremes¡GThe very few artists standing on the top, and the main stream of industry which caters to trend; embracing technology is the best option when cultural and creative industries confront new era. 5. Open up the exporting and tourism markets. 6. The blue ocean strategy for individualization era ¡V The new consumption stage¡Gselling the wonderful lifestyle, customer-orientation¡Bemotional marketing¡Bsymbolic economic and luxury marketing; using the human resources well and creating high value-added. Other warnings are about the difficult financing policy, the over-supply after industrialization, the competitor after globalization and the extra pressure problems from social economic state. The cultural and creative enterprise and the industry should drop the preconceived ideas or take others to slightly, they should learn the advantages from each other¡GThe cultural and creative enterprise should emulate the concepts of standardization¡Bhigh level expression¡Bmodule or cost-down from industry, and the industry can observe the variation ability of duplication form The cultural and creative enterprise, and create high value-added by authorization.

當製造業面臨產業瓶頸，最早見於40年代法蘭克福學派的「文化」結合產業手法訴求夕陽工業轉型，我國參考歐美等國開放工廠或建立觀光園區等為知識觀光景點之作法，於2003年以「推動製造業發展觀光休閒產業計畫」為主，佐以〈工廠兼營觀光服務作業要點〉之相關規定，協助製造業工廠轉型產業文化資產觀光。 「文化」是生活的表述，於社會結構中區分個人或群體所表現出之價值；「文創」在「文化」的主要和次要特徵元素上做創新發揮，在知識經濟時代透過文化產品的符號網絡達成文化傳遞流行化的成果；觀光工廠的品牌塑造便如同任何一類文化創意活動：在一定的知識背景下，依靠人的創新與想法，加上現代科技提升傳統文化要素的內涵和品質，並非單單對傳統文化的簡單複製、加工和移植，而是文化個性特質的最大發揮。 本研究以宜蘭縣內之觀光工廠為主要研究對象，分析整理廠區DM、觀光工廠官網與觀光工廠旅遊專書等文獻，輔以筆者現場進行深度訪談，針對觀光工廠如何推展觀光行銷，做到企業、文化傳承，同時尋求建立百年企業之可能。對於近年來公部門輔導下面臨的市場困境，也逐一發掘整理，期能為後續的改善提供方向。 / When the manufacturing industry was faced with industrial bottlenecks, as early as the combination of "culture" and "industry" of the Frankfurt School emerged in the 1940s, it sought the transformation of industrial development from the declining situation. Taiwan refers to the experience of the tourism factories in Europe and the United States, establishing the cultural and creative places as the knowledge tourist attractions. The Ministry of Economic Affairs has been actively coaching the management of tourism service and the restructuring of domestic conventional factories since 2003, to assist manufacturing factories in transforming industrial cultural assets and sightseeing. "Culture" is the expression of life, distinguishing the values shown by individuals or groups in the social structure. Cultural and creative resources make innovations in the main and secondary characteristic elements of "culture," and achieve the popularity of cultural transmission results through cultural products with their symbolic network in the era of knowledge. Tourism factory’s brand building is like any kind of cultural and creative activities: The process rely on human’s innovations and ideas in a certain knowledge background, coupled with modern science and technology to enhance the traditional cultural elements of the content and quality. It’s not the simple reproduction, processing and transplanting of traditional culture, but the greatest manifestation of the special characteristics of culture. This study set the tourism factories in Yilan County as the main research object, discussed with analyzing tourism factories’ DM, official website, tourist book and other literatures, supplemented with depth interviews on the way of how to promote tourism marketing by the author, explored the strategy of the conduction of business management, cultural heritage, and even the possibilities of seeking to establish a centennial shop. The research also sorted out one after another to provide the direction for subsequent improvement for the market dilemma under the guidance of the public sector in recent years.

文化創意產業是人類知識的薈萃，屬於無價的無形資產，透過時代與空間交織出千變萬化的形貌，展現人類的智慧與創意的極致。表演藝術肩負「文化」承傳的使命，發揮「創意」的極限，是文化創意產業的核心，讓人們從庸碌的生活中，找到另一片新的可能。 全球第一個喊出「文化創意」的英國，創造了2001年所選定的十三個創意產業中，創造132萬的就業人口，總產值更高達1,125億英磅的佳績。令各國開始注意起文化創意產業帶來的附加價值，文化創意產業逐步成為全球矚目的新興產業。國內政府目前積極投入文化創意產業，透過強化網路外部性，除了創造更大的獲利空間，同時也為國內的文化環境，提昇更大的產業競爭優勢。 國內的音樂表演藝術活動擁有最多人數參與，也是最蓬勃發展的文化創意產業之一。例如前年流行日本的「交響情人夢」風潮，一路吹回國內，除了成功將趨勢與古典音樂相結合，創造國內的藝文話題外，也成功帶動國內的音樂水準，令參與人數直線攀升。 本研究以組織發展成熟為區隔，分析目前位處組織成熟期的音樂表演藝術團體之行銷策略與經營模式，透過其經驗分享與個案分析方式，與位於組織萌芽期的團體作對比，進一步分析其內外部優劣勢與與整體環境之評估，希望能夠提供未來文化創意產業發展的具體建議。以國內最知名的朱宗慶打擊樂團為例與新創團體-心享交響管樂團為例，本研究分析研究音樂表演團體之成功因素與行銷策略，透過國內外文獻與研究，進一步驗證藝文教育對文化創意產業發展之重要性，提供台灣的文創產業更寬廣的未來。 / Cultural and Creative Industry is an invisible asset which belongs to the whole human beings. It presents in various forms during ages, and it also transformed into the ultimate attainment in the history. Performance Art is the core of the Cultural and Creative Industry, and it develops the appearance of the “Culture” and also elaborates the limits of the “Creativitity”. It provides people to have wide imagination in their day-to-day lives. Even the music performance is the most popular activities in Taiwan, but it is still a huge chanllege to attract more people getting into the concerts hall. More and more groups attepmt to find out a better solution to make their customer loyally and increase the frequency of customer presence to the programs. According to the research, it will be better to understand the customer behavior well or teach them when they were in childhood. The researcher interviews two music performance groups, one is a well-known band, Ju Percissopm Groups; and the other one is a new beginner, Shin-Sharn Wind Symphony Orchestra. After the research, it shows the importance of the education. Meanwhile, it is more essential to link up with the trend and maintain the relationship with the other different groups. For example,” Madame Cantabile”, the famous Japanese Drama which broadcasted couple years ago, it had already promotes the classical music, and it also fascinates lots of new consumers which has never listen to classic music. It made a huge hit to classical music, and it also set an excellent example for the Cultural and Creative Industry.

「簡單生活節」是個自2006年底開始、每兩年舉辦一次、位於台北市中心華山1914文創園區的大型活動，以城市的生活風格為主軸，「做喜歡的事，讓喜歡的事有價值」為號召，內容涵括音樂、市集、論壇等，多元且具創新。活動為期兩天，三屆下來每屆均有超過三萬人入場，更創下上千萬元的消費，不論規模、經營模式在國內皆可說是首見。 在國內開始注重文化創意產業之際，究竟簡單生活節的經營模式為何？活動能持續舉辦的核心能耐為何？需要哪些利害關係人的資源投入？國內對於大型文創活動的價值經營研究較少，本研究以價值共創的角度，探討簡單生活節（1）由哪些人共創，創造了什麼價值，（2）為各利害關係人帶來什麼價值。另外也由主辦者的角度，去探討（3）如何和各利害關係者進行價值共創，以及（4）要讓活動長期經營、價值極大化需要哪些要素。 本研究發現，（1）參與簡單生活節共創的角色有參與者（演出者與擺攤者）、贊助者（最大宗為統一超商）、場地提供者（華山文創園區）、支援平台（StreetVoice），彼此因認同簡單生活風格而集結，其創造的價值為風格型態的品牌價值以及宣傳平台價值，而活動讓（2）參與者得到金錢效益以及增加曝光度、贊助商得到金錢效益和品牌效益、場地提供者得以累積能耐以及增加曝光度、StreetVoice網路平台增加使用者的黏著度。（3）主辦者透過四大基石與利害關係人共創價值：設立支援平台以累積創意能量、讓利害關係者參與設計互動方式、互動密切頻繁、雙方相互提供價值，（4）組織層面須要能體察社會趨勢的領導者，以及藝術和商業頭腦兼具的A型團隊；營運層面需要明確的商業模式，不只在共創過程中和各利害關係者累積長期良好的合作關係，還要能將關鍵資源運用至關鍵流程中，而發展背後的支援平台更是活動長期經營的關鍵。 / SimpleLife festival, a big cultural two-day event in Taipei Huashan1914 Creative Park every two years since 2006, which attracts more than 30000 people and generates considerable income. It is a collaborative creation on lifestyle aesthetics which combines music, markets, exhibitions and lectures, and the scale and business model are very innovative in Taiwan. Hence, what are the values from this event and how to co-create it are the precious issue. This research explains: (1) What values do SimpleLife festival create and who are the stakeholders? (2) What are the values for stakeholders? (3) How does conductor co-create with stakeholders? (4) For conductor, what are the key factors to maximize value of holding SimpleLife festival? The findings of this research demonstrate：(1) Participants, sponsors(7-ELEVEN), place provider(Huashan1914 Creative Park), and internet platform(StreetVoice) are the stakeholders of SimpleLife Festival, they gathered by identifying the same lifestyle concept. It creates brand value of lifestyle and promoting value. (2) Participants get income and promoting value; sponsors get income and generate branding; place provider gains awareness and core competence, and backup platform increases stickiness from users. (3) The conductor co-creates with stakeholders by utilizing four powers: build platform, enhance engagement of stakeholders, interacting frequently, and provide values. (4) For organizations, leaders with trends investigation and a team with both commerce and art brain are needed. For operation, clear business model is needed, not only define clear key resources and key process, but build the backup platform is the key factor of operating in the long run.

台灣曾被稱為蘭花王國、植物王國、水果王國，這都在在的說明台灣農業有著得天獨厚的特色，台灣的土壤條件、天然氣候、歷史軌跡、人文智慧等風土條件是其他產業所無法擁有的，台灣農產加工品的風格競爭力是有足夠的力量來替台灣產業找到出路。台灣的消費社會已經從符號消費進入體驗消費，藉由打造品牌，注入文化，營造體驗提供給消費者真實感的附加價值，能夠重新詮釋台灣農產品的獨特與價值，以提升台灣農企業的市場競爭力。過去以生產為主的農產加工業想轉型必須運用文化、創意、美學，橫跨一級農業、二級工業與三級服務業的價值鏈，透過「1＋2＋3」的產業組合，發揮「1 X 2 X 3」的綜效成為第六產業。 本研究透過體驗型農企業（概念同文化創意產業）的體驗核心要素與真實體驗Authenticity兩個概念，研究農產加工業轉型經營體驗型農企業的過程，透過動態能力的架構探討企業如何調整原有的組織能力與資源，進而建構品牌、營造體驗價值的動態歷程。研究問題如下：（1）農產加工業轉型為體驗型農企業的過程為何？（2）體驗型農企業的內涵為何？（3）體驗型農企業如何藉由營造品牌真實體驗提高附加價值？ 本研究發現，（1）農產加工業轉型為體驗型農企業的過程中，經營者是相當重要的掌舵人，不能搖擺。做中學是轉型很重要的助力。更要善用風土資產、產業文化資產當成發展體驗型農企業的武器。（2）轉型成體驗型農企業必須提出生活風格提案，藉由說一個真誠的故事，打造體驗型農企業的獨特形象，做出區隔。（3）藉由包含企業差異故事的獨立空間當作一獨特的媒介元素，品牌說故事的效果能達到差異化。空間經驗的體驗應包含形態、動線、相互作用、活動、背景環境。體驗型農企業的美感體驗打造應該從平面設計⇒產品設計⇒空間⇒城鎮。（4）體驗型農企業需要提供具有教育及忘我的體驗營造深度體驗的營造，讓體驗更加深刻。另一個深度體驗營造的要素是工作人員的服務，藉由工作人員與顧客的互動帶給顧客一場精彩又深刻的表演。（5）體驗型農企業營造品牌真實體驗提高附加價值的時候，要利用農產品的風土條件讓顧客感受到產品的天然性。勇於提供與市面上大部份產品不同的產品於服務，帶來原創性與獨特性的真實。體驗型農企業必須提出獨特經營理念，且真誠地執行，得到消費者影響性的認同。藉由勾起懷舊回憶或歷史的場域空間，與獨特的活動及服務，使顧客無可救藥地注意並喜歡上體驗型農企業提供的體驗。（6）最後必須用自己獨特的方式融合五個面向的真實價值，讓顧客感受到最真實體驗的感動，所以顧客願意花較高的價格購買產品或服務，提高體驗型農企業的獲利。 / Taiwan has been called as the kingdom of plants, the kingdom of fruits. The reason is the unique terrior capital of Taiwan, such as soil, weather, history, and human. By building the brand, putting the culture in, and creating the experience to customer, they could feel the added value and the unique of Taiwan’s agricultural produce. The agricultural processing industry in Taiwan had been regarded as the primary industrial sectors. However, the agricultural processing industry is transforming to Sixth industry, which integrates the primary industry, secondary industry and tertiary industry by culture, creative and aesthetics. The integration of different industrial sectors (1+2+3) got the synergy (1X2X3). There are two essential concepts in the study, one is the core experience element of experience-agribusiness (the concept is similar with the culture- creative industry), and the other one is Authenticity. Based on the two concepts, the research is to investigate the dynamic constructing process of the agricultural processing industry in Taiwan’s transformation, building brand, and creating the experience value. This research aims to investigate following questions: (1) What is the transformation process form the agricultural processing industries to experience-agribusiness? (2) What are the essential elements in the experience- agribusiness? (3) How does experience-agribusiness to increase added value by building brand? The preliminary research findings include 1. The owner should be determinate, which means the owner clearly know the vision. Learning by doing is the best way to successfully transform. The terroir capital and industrial culture is the very important tool. 2. The experience-agribusiness always tells a life style story to build a unique image. The space is the proper media, which includes shape, movement, event, interaction, and context. 3. The experience-agribusiness provides affective experience, which is educational, obsessed experience. The experience is given by the interaction of staff and customer. 4. The authenticity is the core of added value of experience-agribusiness. By integrating the five elements of authenticity, which are natural, original, exceptional, referential, influential elements. Afterward, customer is willing to pay more for the added value.