即使今日各國政府均極力推廣文化創意產業，並期待文化創意產業能夠成為下一波的經濟新勢力。在台灣，這幾年來文化展演機構（如：華山1914文創園區、松山菸場）是政府努力推廣文創產業重要的平台，以華山1914文創園區為例（以下簡稱華山文創園區），每隔兩年，由中子文化所舉辦的大型展演活動──「simple life簡單生活節」在過去四屆共吸引了超過十萬人的參與，這包括了外國媒體的大幅報導以及國際觀客客的新景點；「simple life簡單生活節」形成其獨特的商業模式，也為各大展演活動爭相模仿的目標。然而，我們對於文化創意產業中的商業模式及其形成過程的瞭解甚少，沒有政府補助的文創活動是否因其創新思維而永續經營呢。本研究將以民族誌研究法 (ethnography) 探討文化展演活動的商業模式及其形成過程，以及藝文組織如何利用創新思維與其利害關係人共同創造價值，達到目的。 Today, a number of countries worldwide have put efforts to promote cultural and creative industries and plan to foster the economic power. In Taiwan, in the past few years, the central and local government were keen to raise public’s awareness on cultural institutions, such as “Huashan 1914 Creative Park” and “Songshan Cultural and Creative Park”, where are now important platforms to deliver cultural creative activities. Taking Huashan 1914 Creative Park as an example, the “Simple Life” cultural activity taking place every two year has attracted more 100,000 visitors since 2006. These visitors include foreign media reporters and international tourists who make this festival becomes so popular for local residents but also for international tourists. Meanwhile, the business of this cultural activity is widely imitated by other similar activities or events. However, we know little in regards to the business model in cultural & creative industries and there is little research to examine the process in forming business model. We are curious what the business model is in cultural & creative industries and how it is sustainable to compete with other similar activities. Therefore, this research aims to explore the process of a business model in a popular and one of the most successful cultural activities in Taiwan, which takes place in Huashan 1914 Creative Park; additionally, this research explores how this innovation business model is formed during the curating by employing ethnographic methods to collect, analyze and interpret data.