05983nas a2200529   4500000000100000008004100001260002000042653001600062653001300078653001700091653004400108653003200152653001500184653001200199653001600211653001100227653001500238653002600253653003900279653003900318653003400357653002300391653003300414653001700447653002700464653001800491653002900509653002300538653003000561653007600591653002300667653001900690653001900709653002600728653002600754653002700780653002000807100001600827700001300843700001600856245015100872856015301023300001201176490001501188520420801203020004205411                                       d  bSpringer Verlag10aApprentices10aCommerce10aDesign drive10aDevelopment of science and technologies10aEconomic and social effects10aEmployment10aEtching10aExhibitions10aHouses10aInnovation10aInnovative approaches10aIntangible cultural heritage (ICH)10aIntangible cultural heritage (ICH)10aIntangible cultural heritages10aInteraction design10aJinling Sutra Printing House10aLiving state10aLong-term preservation10amulti-sensory10aMulti-sensory experience10aMultimedia systems10aOff-line experience store10aOff-line experience stores of traditional handicraft derivative product10aPersonnel training10aPrinting house10aProduct design10aTechnical limitations10aTechnical requirement10aTraditional handcrafts10aUser interfaces1 aBingmei Bie1 aYe Zhang1 aRongrong Fu00aStudy on Display Space Design of Off-line Experience Stores of Traditional Handicraft Derivative Product of ICH Based on Multi-sensory Integration  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85050636423&doi=10.1007%2f978-3-319-91806-8_42&partnerID=40&md5=53fb731b8ac50420ed80cc88e52563c5  a459-4700 v10920 LNCS3 aIntangible cultural heritage is considered as the basic identification mark of the nation for many nationalities. With the changes of the times and the development of science and technology, intangible cultural heritage programs of the traditional art and skill types with technique as the core have faded out of people’s lives even gradually demised because of the changes of social demand, the lacking of inheritors and inadequate protection. So how to protect and inherit the intangible cultural heritage and how to provide a driving force for its survival and development by design innovation under modern conditions? Nanjing Jinling Sutra Printing House, established in the fifth year of the Tongzhi Period (1866) and engaging in the gathering, collection, research and publishing of sutra, it has collected lots of precious sutra and statue engravings. Till now, the Printing House has collected 125,318 pieces of Buddhist classical engravings, completely protected and inherited traditional woodblock printing skill of China originated from over 1,300 years ago and formed a unique artistic style of books. The “Chinese woodblock printing technique”, represented by Nanjing Jinling Sutra Printing House, etc., was inscribed on the World Representative List of the Intangible Cultural Heritage of Humanity by the UNESCO in 2009. Its book art has profoundly embodied the art symbol of traditional Chinese culture in the aspects of text and image, layout and binding, material and technology, etc., with unique aesthetic features of ancient Chinese art. Its master-to-apprentice mechanism of book art is even one of the representative methods and approaches of Chinese cultural and artistic inheritance. The woodblock printing of Jinling Sutra Printing House includes four manual procedures of sample writing, engraving, painting and binding. Wherein, writing and engraving have a high request on professional skills of the operators, which need a long-term training and cultivating mechanism of apprentice learning from master and oral teaching that inspires true understanding within. The aesthetic value embodied by manual engraving is the precious aspect of artistic style of books but also a shortage for the passing on of the woodblock printing art. For instance, the difficulty in cultivating professional talents, the accurate requests on one-time molding of engraving skills, the labor and time-consuming in product output efficiency, increasing space requirements on storage of woodblocks, technical requirements on long-term preservation of woodblocks (anti-damping, anti-moth, fire proofing) etc. Besides, there are only four masters and apprentices of three generations in Jinling Sutra Printing House at present, and two of whom are the only apprentices of their masters, talent training and technology inheritance are confronted with a great risk of uncertainty. Although woodblock printing plays an important role in the development and inheritance of China’s traditional culture and artistry, it still has equally prominent technical limitations. Therefore, how to conduct effective and living research on such intangible cultural heritage and use digital technology for its comprehensive protection and inheritance in the digital times has become a particularly necessary proposition. After preliminary research, the writer believes that the current protection and inheritance for intangible cultural heritage programs have the following patterns: first of all, inheriting the project originally; secondly, on the basis of original inheritance, thinking about how to combine the traditional skills with modern life, and how to integrate the intangible cultural heritage with times elements in innovative approaches, so that it can be inherited lively. The writer believes that, nowadays, living state is an important characteristic of China’s intangible cultural heritage. So, the development of contemporary intangible cultural heritage shall be effectively put into the market as a circulation commodity with higher added value and cultural value and interact and promote with the market to become a driving power and motive power for the development of social culture.  a03029743 (ISSN); 9783319918051 (ISBN)