Unlike the conventional business clusters, the nature of cultural clusters is distinctive due to knowledge-intensity in production of culture which is transferable both from outside and inside of their spatiality. Earthenware pottery products crafted in Izmir, Turkey has recently declined due to the lack of new designs, promotion and marketing. This research intends to present a case study where the design grafting method has been implemented through a new knowledge acquired from an international joint venture experience and a great potential of intense know-how and knowledge gain through design, and branding strategies for cultural clusters. The design grafting process and its conceptual framework has been considered in the context of its possible role for cultural industry development. The international research project as a case study has been conducted in collaboration with foreign design institutions for design grafting implementation processes of Menemen pottery. The main objective is to transfer a foreigner design approach to current pottery making, and also manage the interdependencies between the acquired knowledge of unique design idea and its mass manufacturing in practice. The intention of such acquisitions depends integration of new design and production capabilities as maintaining cultural production process of pottery making. The employed methodology contributes to the previous collaborative efforts in knowledge creation, exchange, sharing and stimulate organizational change in cultural industry cluster. The research process improves our understanding of intra-culture design knowledge transfer processes, as well as the externally generated strategies in dealing with internal obstacles of cultural cluster. For such research, design grafting illustrates a unique collaborative effort constructed among different know-how located in different cultures. The grafting has been an actual implementation practice of design initiatives for producing, branding and identity reformation in pottery making as a cultural production. Sharing and brainstorming through collaborations within the research and design processes have been intended to transform the current craftsmanship into a more design-based and sustainable cultural industry. More significantly, this work has been a practical attempt that tries to integrate the grafting tool into the development strategies for a cultural industry concentrated in a certain location. This research can be furthered with the test of this proposed method in other cultural clusters and production sites.
