本文以室內設計師為例，主張藝術與商業之間的緊張，以及使用者中心和設計者中心原則的張力，必須置於勞動過程與生產關係中考察。不同職涯階段與從業身分下的生產關係，影響了設計者對工作的理解、與使用者的互動，以及自我認知。研究發現，資淺受僱者傾向認為設計是空間形式的美學操作，追求獨創性，卻困於資方和使用者要求而備感挫折，陷入藝術工人的困境。資深受僱者或合夥人偏向認為工作流程每個環節都是展現專業的機會，解決難題的能力即為設計核心，自許為體貼使用者需求的專業服務者。雇主或自雇者則有經營事業、開拓人脈的壓力，認為設計包括處理人際關係，擁有引導使用者生活風格的專業自信，形成美學企業家的自我認知。換言之，異化勞動、自我治理和自我反身性等不同創意勞動模型，須安置於生產的社會關係中來了解其適用性。

The discussion of creative labour or cultural work usually focuses on the art-commerce contradiction, and the tension between designer-centered principle and user-centered principle. Using cases of interior designers, this article argues that we should also consider the designers’ employment status and production relations which affect their understanding of design works, interaction with users and self-recognition. This research finds that employed beginners tend to view creativity as individual’s aesthetic expression of spatial form, but they frequently feel frustrated for their ideas being suppressed by their employers and clients, and trapped into the dilemma position as artistic workers. Senior employees and partners who self-recognized as user-oriented professionals tend to see every aspect of the workflow as opportunities for creative labor, and the ability to tackle difficult problems is the key to good design. Employers or the self-employed who are under pressure of running a business and networking believe that creativity must include the capacity to maneuver interpersonal relationships, and they are confident in educating users with lifestyles which reveal their self-recognition as aesthetic entrepreneurs. In brief, the author argues that the models of creative labour as alienated labour, self-governance, or self-reflexivity should be put into the context of production relations among workers, owners and clients.