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Rethinking Co-Creation

Cleveland Donna, Joyce Corinna, Cleveland Peter, Waldhart Matthias,
Rylander Anna, Nguyen Hanh

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To cite this version:

Cleveland Donna, Joyce Corinna, Cleveland Peter, Waldhart Matthias, Rylander Anna, et al. Re-thinking Co-Creation. Doing it again. Art Design Research Conference (AD-REC) 2025, École supérieure d'art et design de Saint-Étienne (Esadse), May 2025, Saint-Étienne, France. hal-05170149

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Submitted on 18 Jul 2025

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# Rethinking Co-Creation: Adaptive Approaches to Agency in the Vietnam Design Research Studio (VDRS) Pilot Study

Donna Cleveland¹[donna.cleveland@rmit.edu.vn]

Corinna Joyce¹[corinna.joyce2@rmit.edu.vn]

Peter Cleveland²[peter.cleveland@autuni.ac.nz]

Matthias Waldhart¹[matthias.waldhart@rmit.edu.vn]

Kristina Rylander ¹[kristina.rylander@rmit.edu.vn]

Hanh Nguyen¹[Hanh.Nguyen51@rmit.edu.vn]

¹Royal Melbourne Institute of Technology University, Vietnam

²Auckland University of Technology, New Zealand

## Abstract

This paper reflects on the pilot study of the Vietnam Design Research Studio in Hoa Tien, a traditional craft village, which sought to explore co-creation methodologies in the context of digital platform development. Initial ambitions to collaboratively design a digital tool with local artisans confronted significant challenges, revealing inherent disparities between academic and tacit knowledge systems. These challenges necessitated a shift from conventional co-design models to adaptive, enablement-focused approaches that prioritize local agency and contextual understanding. Through participatory action research and ethnographic methods, the pilot uncovered the complexities of embedding agency in creative processes. Artisans valued preservation of historical craft techniques over contemporary reinterpretations, emphasizing the importance of sustainability and cultural authenticity. This study highlights the need for ethical engagement frameworks that empower communities to document and share their knowledge, rather than imposing external narratives. The findings advocate for new understandings of agency in co-creation, grounded in adaptability, reflexivity, and respect for local contexts. The research further suggests that sustainable practices in design can emerge from such adaptive approaches, fostering global learning while preserving cultural heritage. The discussion situates the pilot within broader discourses on the performative and political dimensions of agency in creative processes, offering insights for art and design practitioners navigating the complexities of community-driven innovation.

**Keywords** Co-creation, Agency, Adaptive Design, Traditional Crafts, Sustainability
## Introduction

The Vietnam Design Research Studio (VDRS) explores co-creation with textile artisans in Vietnam, focusing on design, cultural heritage, and sustainability. Its pilot study in Hoa Tien, known for brocade and silk weaving, aimed to co-develop a digital platform to document, preserve and adapt these crafts, empowering artisans to sustain livelihoods and global recognition.

Initially, researchers envisioned co-design as overlapping expertise, but the study revealed gaps in knowledge and expectations. Researchers brought digital design expertise and sustainability insights, while artisans contributed tacit understandings of materiality and cultural meaning in a hyper-local context. Artisans often lacked awareness of the possibilities, risks, and ethical complexities associated with digital tools, readily agreeing to proposals without fully considering their implications. Conversely, researchers faced their own gaps in understanding the artisans' intangible heritage and the meanings embedded in their practices. Illustratively, the interview method exposed the substantial disparity between these 2 distinct knowledge systems. This realization necessitated rethinking the co-creation beyond the simplistic model of overlapping expertise. Instead, the project underscored the need for adaptive approaches that respect and bridge these gaps, prioritizing agency, reflexivity, and the contextual realities of both parties. This paper examines these challenges and opportunities through the lens of the VDRS pilot, proposing new frameworks for embedding agency in creative processes. By exploring adaptive methodologies, it contributes to broader discourses in art and design research, emphasizing ethical engagement and innovation in community-driven contexts.

## Literature Review

Co-creation empowers communities while preserving cultural heritage. Bissett-Johnson & Moorhead (2019) describe it as fostering livelihoods through craft without compromising artisans' autonomy or cultural identity. This balance is essential for sustaining traditional crafts, especially in Vietnam, where textile practices of 54 ethic groups are deeply tied to cultural identity. However, co-creation models often assume equal expertise among stakeholders, overlooking critical knowledge gaps.

Participatory Action Research (PAR) provides an ethical, inclusive framework for co-creation by prioritizing collaboration and validating local knowledge. Adaptive methodologies complement this by offering flexibility to address evolving community needs, particularly in safeguarding intangible heritage. For instance, Mazzarella et al. (2016) highlight how such frameworks can support artisans' communities by promoting cultural preservation, social engagement, and economic development.

Bridging the gap between academic frameworks and tacit knowledge remains a challenge. Groth and Berg (2018) emphasize that tacit knowledge in arts and crafts cannot be formally taught but is learned within communities of practice. Case studies from Pakistan and Colombia further demonstrate that equitable knowledge exchange fosters sustainable practices respectful of traditional contexts (Espinosa, 2024). These examples highlight the need for adaptive spaces that preserve and reimagine traditional knowledge.

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Digital tools offer new possibilities for revitalizing traditional crafts. Choudhary (2023) highlights their potential to merge tradition with technology, enabling cultural preservation and economic opportunities. Similarly, Madden et al. (2014) stress the importance of bridging knowledge system gaps in co-design with Indigenous communities, advocating for adaptive methods that promote participant ownership. These tools and methodologies informed the VDRS pilot study, which aimed to document and share the textile traditions of Hoa Tien, empowering artisans while fostering global learning. This paper builds on these discussions by examining adaptive co-creation in the pilot, addressing the challenges of preserving traditional crafts in a rapidly changing world.

## Methodology

The study used PAR and ethnographic methods for culturally sensitive, community-driven research. A team of 5 researchers and 1 research assistant (and interpreter) spent 5 days in Hoa Tien, North-West Vietnam. Communication challenges arose, requiring translation between local Thai dialect, Vietnamese, and English. To minimize disruption, we integrated into daily village life while collecting data. Activities included gathering mulberry leaves, feeding silkworms, spinning silk, and weaving brocade. We conducted 7 semi-structured interviews in 6 homes, exploring craft practices, cultural heritage, and challenges. Guided questions framed these interviews, which were transcribed for thematic analysis.

Digital documentation was central. We set up a textile scanning studio, captured 3D lidar scans of artifacts, and used photogrammetry to record artisanal tools. Drone technology mapped the village, producing immersive videos, orthomosaic maps, and cross-sections connecting workspaces. Reflective sensory methods enriched our understanding. We sketched observations, recorded soundscapes of machinery and silkworms, and documented daily rhythms via photos and videos. This multi-modal approach captured the materiality, texture, and meaning of their practices. Ethical considerations prioritized community agency, using informed consent and co-created methods. Adaptations, such as conducting interviews at looms to avoid disrupting work, demonstrated situational sensitivity essential for meaningful engagement.

This study was conducted in accordance with ethical guidelines approved by RMIT University, with ethics approval number 27769. Informed consent was obtained from all participants before conducting interviews, digital documentation, and any data collection activities. Participants were provided with clear explanations of the study's purpose, potential impacts, and how their contributions would be represented.

## Findings

The pilot study uncovered critical insights into the dynamics of co-creation, cultural preservation and adaptive methodologies. These findings are organized into three themes:

### Challenges of Co-Creation

The disparities between academic knowledge and the tacit, embodied practices of the artisans emerged as a central challenge during the pilot study. Researchers envisioned co-creation as a collaborative process where overlapping knowledge systems could converge to design a digital

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platform. However, situational and epistemological differences between the 2 groups undermined this model, revealing the complexities of bridging divergent perspectives.

Traditional interview methods proved inadequate for capturing the artisans' priorities. When researchers posed open-ended questions like *What can we do for you?* the responses often centered on immediate, tangible needs rather than broader, strategic goals. Artisans requested support such as assistance in selling products or acquiring new weaving frames. One artisan expressed the importance of market access, stating, *If you could find a market for our products, that would be the most helpful*. This feedback underscored the artisans' focus on daily livelihood concerns, which outweighed the researchers' emphasis on cultural preservation.

Artisans also demonstrated limited engagement with unfamiliar concepts such as *integration into modern fashion*. While 2 out of the 7 interviewees grasped the idea upon explanation, most required further clarification, examples, or translations into their local Thai dialect to provide responses. These interactions revealed a situational misalignment because the questions failed to resonate with the artisans' lived experiences. Concepts like digital platforms, while met with polite agreement, elicited little genuine engagement, as artisans lacked a frame of reference to assess their relevance. This misalignment reflected broader differences in priorities and methodologies, as summarized in Table 1. Researchers' academic frameworks prioritized long-term preservation and adaptation, whereas artisans focused on practical skill application and income generation. The researchers' structured approaches, such as developing digital tools, contrasted with the artisans' embodied, experience-based learning methods. Similarly, while artisans were open to innovation if offered clear, tangible benefits, they expressed little concern about potential risks to cultural authenticity.

<table><caption>Table 1: Comparison of Academic and Tacit Knowledge Systems</caption><thead><tr><td>Aspect</td><td>Academic Knowledge</td><td>Tacit Knowledge (Artisans)</td></tr></thead><tbody><tr><td>Focus</td><td>Long-term preservation and adaptation of craft</td><td>Immediate livelihood and practical needs</td></tr><tr><td>Methodology</td><td>Structured frameworks (e.g., digital platforms)</td><td>Embodied, experience-based learning</td></tr><tr><td>View of Craft</td><td>Cultural and historical preservation</td><td>Practical skill and income generation</td></tr><tr><td>Response to Innovation</td><td>Hesitant about losing authenticity</td><td>Open if it provides clear, tangible benefits</td></tr><tr><td>Awareness of Digital Tools</td><td>Conceptual and strategic</td><td>Minimal; polite agreement without deep understanding</td></tr></tbody></table>

This table shows the misalignment between the priorities and methodologies of the 2 groups, underscoring the need for adaptive, context-sensitive approaches to co-creation. The challenges observed demonstrate the importance of developing methods that respect and incorporate the artisans' lived realities while bridging the knowledge gap with academic frameworks.

## Preservation vs Innovation

The pilot study revealed a deep commitment among artisans to preserving traditional textile practices, with a strong belief that younger generations would continue these skills. Artisans

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emphasized the cultural importance of motifs such as the sun, moon, and elephants, describing them as symbols passed down from ancestors and integral to their heritage. These patterns, woven into the fabric of their identity, were described as markers of their community's history and pride. Knowledge transmission was seen as secure within their familial system, where skills were passed from mother to daughter. This system was perceived as robust, with no immediate concerns about its sustainability, as younger generations remained actively involved in the craft. As one artisan shared, *We teach our daughters and daughters-in-law. They know the importance of this work.* When discussing innovation, artisans expressed openness to adapting their techniques or designs to meet market demands. For instance, while the traditional motifs remained unchanged, adjustments in color or placement on more contemporary items, such as scarves or shirts, were seen as acceptable. One artisan remarked, *If the customer demands it, we will adjust the design.* This flexibility highlighted their pragmatic approach to balancing tradition with economic opportunities. However, an interesting contrast emerged regarding the documentation of historical versus contemporary work. Artisans placed high value on preserving historical pieces as collective memories of their cultural identity. The community's mini museum showcased historical textiles, which were considered representative of the Thai ethnic group's legacy. Contemporary work, in contrast, was largely viewed as a practical endeavor tied to livelihood rather than cultural preservation.

The community leader provided insights into this distinction, noting that the knowledge of elders was respected and acknowledged as the foundation of their craft. However, she did not see the artisans' current work as equally significant for preservation, explaining that it was *about selling and making money*. The focus on daily production as a living practice, rather than a historical artifact, reflected the artisans' view of weaving as an active and evolving part of their identity. This dual perspective, valuing historical preservation while viewing contemporary work as functional, underscored the artisans' pragmatic approach to sustaining their craft. By maintaining their traditions within the family structure and adapting where necessary for economic viability, they demonstrated resilience and resourcefulness in navigating the balance between preservation and innovation.

## Adaptive Approaches

The limitations of traditional co-creation research methods necessitated a shift toward adaptive, enablement-focused methodologies during the pilot study. Recognizing the artisans' unfamiliarity with digital platforms and their focus on tangible needs, researchers adjusted their approaches to prioritize documentation, relationship-building, and respecting the artisans' daily routines. Daily reflections among the research team led to significant changes in the methodology. Traditional focus groups were abandoned after it became apparent that artisans deferred to the village leader or Thai interpreter, resulting in uniform responses. Pre-planned workshops were also set aside, as the language barriers and focus on relationship-building made them impractical. Instead, interviews were conducted at the artisans' looms to minimize disruption to their daily routines and production. This approach respected the artisans' time, as stopping work would result in financial losses. To foster inclusivity and shared purpose, the team created brooches to serve as identifiers for both researchers and artisans. These brooches, given as gifts, symbolized the collaborative nature of the research and reflected the participatory ethos of the project. Cultural engagement was further strengthened by shared meals and participation in a Shaman-led blessing ceremony, which aimed to

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bring good fortune to the community and the project. The ceremony included giving silk bracelets dyed with local indigo to the researchers, symbolizing unity and mutual respect.

Digital tools were employed to document the artisans' techniques and spatial layout of their village. These tools not only preserved cultural practices but also facilitated discussions about their potential applications. For example, when 3D artifacts were shown, one community leader reflected on their potential use in the village's mini museum and noted their utility as communication tools to share heritage with wider audiences. To further bridge the gap, the researchers demonstrated photogrammetry using the leader's smartphone, making the technology more accessible (See Fig.1). Although digital skills training was not part of the original plan, this interaction highlighted its importance for enabling the community to document their own practices in the future.

<figure><img src="image_11.png" /><figcaption>**Figure 1:** Community leader reviewing scanned artifacts on her phone during a photogrammetry demonstration.</figcaption></figure>

These adaptations underscored the importance of flexibility and responsiveness in co-creation research. The research shifted from focusing on immediate project outcomes to fostering long-term capacities for the community. By prioritizing relationship-building, respecting artisans' livelihoods, and introducing digital tools as enablers rather than solutions, the team created an environment of mutual learning.
Discussion

The findings of the VDRS pilot study highlight the complex dynamics of co-creation in the context of design and community engagement. Traditional models of co-design, characterized by overlapping academic and community knowledge, were insufficient to address the complexities of the Hoa Tien context. This necessitated a shift to a non-linear adaptive framework (See Fig. 2), prioritizing relationships, iterative processes, and local agency. By focusing on engagement rather than predefined outcomes, the study redefined agency as a situational, flexible practice that empowered artisans to actively participate in preserving and reimagining their cultural heritage.

<figure><img src="image_12.png" /><figcaption>Figure 2: *Bridging Knowledge Systems in Co-Creation*. Created by VDRS, illustrating the integration of academic and community knowledge through adaptive enablement for sustainable design.</figcaption></figure>

Adaptive methodologies such as photogrammetry, textile scanning, and in-situ interviews at the weaving looms enabled documentation without disrupting daily life or livelihoods. These approaches allowed artisans to see the potential of digital tools, as reflected in one community leader's interest in using 3D artifacts for exhibitions. Feedback loops, including visual demonstrations and reflective discussions, fostered a sense of shared ownership and revealed opportunities for digital tools to serve both preservation and innovation.

The redesigned framework emphasized three critical pillars: documentation of traditional techniques, iterative feedback loops, and cultural sensitivity tools. These non-linear processes connected pre-design and co-design phases, enabling mutual learning and respect for tacit knowledge. This approach aligns with broader ethical discourse on co-creation, advocating for adaptive methods that balance external research goals with community priorities. Limitations, including 5 days of fieldwork and 7 interviews, underscore the need for extended engagement in

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future research. Despite constraints, the study offers a scalable model for integrating traditional knowledge with digital innovation, fostering global learning and cultural preservation.

## Conclusion

The VDRS pilot underscores the importance of adaptability in co-creation. By bridging gaps between academic frameworks and local knowledge, the project fostered agency and cultural preservation. Adaptive methodologies offer a path forward for sustainable design, empowering communities to document and share heritage while navigating modern challenges. Future research should expand these methods across contexts, refining digital tools to enhance long-term impact.

## Bibliography

Bissett-Johnson, K. and Moorhead, D. J. (2019). Co-creating craft; australian designers meet artisans in india. Textile Society of America Symposium Proceedings. https://doi.org/10.32873/unl.dc.tsasp.0004

Choudhary, A. (2023). Adaptation of tribal art of Central Western India for the development of textile products using digital design software. *Shodhkosh Journal of Visual and Performing Arts, 4*(2). https://doi.org/10.29121/shodhkosh.v4.i2.2023.726

Espinosa, P., Cortes Rodríguez, N. C., & Socha López, J. C. (2024). Social innovation for conserving textile-craft practices in boyacá, colombia. Apuntes Del Cenes, 43(77), 153-178. https://doi.org/10.19053/uptc.01203053.v43.n77.2024.16248

Groth, C. and Berg, A. (2018). Co-creation in professional craft practice. Proceedings of DRS, 4. https://doi.org/10.21606/drs.2018.256

Madden, D., Cadet-James, Y., Atkinson, I., & Watkin Lui, F. (2014). Probes and prototypes: a participatory action research approach to codesign. CoDesign, 10(1), 31–45. https://doi.org/10.1080/15710882.2014.881884

Mazzarella, F., May, A., & Mitchell, V. (2021). A methodological framework for crafting situated services. Journal of Service Management, 32(5), 752-782. https://doi.org/10.1108/josm-05-2020-0188