@article{7931,
  keywords = {KANO model, Batik, Experience design, Intangible cultural heritage, user demand, User experience, user experience map},
  author = {L. Zheng and C. Wo and S. Wang and Y. Li and R. Mao},
  title = {Experience design of batik art based on Kano model},
  abstract = {Batik, once known as "wax valerian" in ancient times, is one of the most famous folk traditional anti-dyeing techniques in China. In 2006, Miao batik was selected into the first batch of national intangible cultural heritage representative projects. However, with the development of times, batik art under the negative impact of modern diversified art market has survived in an increasingly narrow space. There mainly exist problems such as serious homogeneity of products, few inheritors of batik art and aesthetics inconformity to the modern market needs. Therefore, it is particularly important to explore the development paths of batik art from the perspective of consumer demand. Similar studies show that from the perspectives of intangible cultural heritage development and customer demand satisfaction, correct assessment of the advantages of intangible cultural elements allows consumers to clearly understand what the product refers to, which not only allows consumers to feel the charm of traditional culture in the experience, but also helps improve the social influence and commercial value of batik art. Therefore, this paper aims to explore a new path for integrating batik art into people s daily lives from the perspectiveof user experience and tries to let users feel ancient wisdom of creation contained in batik art through systematic experience design and promote thewidely dissemination of batik art among young generations. Considering various processes of traditional batik art, the Kano model was adopted to classify and screen user demands in order to maximize users  satisfaction. Firstly, eight participants aged between 20 and 29 were invited to participate in the preliminary batik experience experiment. On this basis, 16 user demand indicators were extracted. After that, 50 eligible participants were invited to participate in the formal batik experience experiment to fill out the questionnaires to determine the Kano attribute classification of user demand indicators. Three basic attributes, five expected attributes, five attractive attributes and 3 undifferentiated attributes were obtained. Then, through the calculation of Better-Worse values, the priority ranking of 16 user demand indicators was obtained. It is found that users are most concerned about the environmental protection of the materials used in the product, the safety of the experience process and whether the product designer provides referential pattern. Based on the definition of Kano attributes, the top 12 user demand indicators were finally selected. Based on the above, a batik art experience kit that could meet the demands of young generations was designed, consisting of three modules, namely, "Batik Carrier", "Tools and Materials" and "Experience Process". In this paper, the Kano model was applied to the experience design of batik art, and its feasibility in the experience design was verified, thus providing a new idea for the inheritance and research of intangible cultural heritage art. With pure natural blue indigo mud and beeswax as the main raw materials, the final design fully considers user security during the usage. The referential pattern inspired by traditional batik pattern is simple and beautiful through design transformation in line with modern aesthetics, and is suitable for beginners to learn. This research attempted to adopt the Kano model to classify and sort out user demands so as to screen out the key demands that affect users  satisfaction. Then, this research carried out design planning from the perspectives of pattern reconstruction, finished product carriers, experience processes and scene tools, provided newT ideas for the inheritance of batik art among young generations and allowed more people to switch from the role of "intangible cultural heritage consumers to "art inheritors", which is of positive significance for the inheritance of batik art. However, due to the limited experimental conditions, this research has failed to subdivide user groups, and the number of samples is small, so the results obtained have certain limitations. In the future, in-depth research will be conducted among people with different cultural backgrounds to improve the experience design of batik art so as to meet the demands of the broader batik experience market.},
  volume = {59},
  number = {1},
  pages = {102-108},
  issn = {10017003 (ISSN)},
  url = {https://www.scopus.com/inward/record.uri?eid=2-s2.0-85131318014&doi=10.3969%2fj.issn.1001-7003.2022.01.015&partnerID=40&md5=61ddf3e62049ff7401e17548a2d37d2b},
  doi = {10.3969/j.issn.1001-7003.2022.01.015},
  note = {Publisher: China Silk Association},
}