Published Online: Dec 26, 2019
Page range: 29 - 47
Received: Mar 31, 2019
DOI: https://doi.org/10.2478/quageo-2019-0037
© 2019 Monika Murzyn-Kupisz, Jarosław Działek, published by Sciendo
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.
Fig. 1
Locations of artistic firms and their advantages in the context of economic and spatial strategies followed by particular artistic entrepreneurs in Kraków.
| Physical location in a specific area or quarter type | Potential advantages in the context of a particular economic and spatial strategy | Desired visibility in urban space | Targeted customer types (segments) | Case study |
|---|---|---|---|---|
| inner city area – a historic quarter of artistic memory and traditions, dominated by tourism, with major public cultural institutions, niches of less commercial and independent cultural activities (Old Town) | – proximity to large flows of local and non-local customers and major transport hubs; – direct face-to-face contacts with customers; – possibility to use the image of tradition and prestige of cultural heritage and cultural institutions. | high or relatively high | Polish tourists, to some extent foreign tourists and residents of other parts of Kraków | Kacper Ryx Historical Shop |
| low | local and non-local longer term participants of workshops, regular clients | Xerion | ||
prestigious historic area on the edge of the inner city – a quarter of tacit artistic production and residence without a clear artistic image (Nowy Świat) | – finding a niche in terms of drawing regular, more local customers tired of buzz and overtourism of other historic areas; – possibility to refer to the area’s historic yet ‘laid-back’ image. | moderate | local, regular customers, students | Café Szafé |
less prestigious historic area on the edge of the inner city undergoing dynamic regeneration – a quarter popularly recognised as an artistic area with the dominance of independent artistic activities and nightlife (Kazimierz) | – proximity to local and non-local customers representing specific, promising market segments (younger and middle age local consumers with cultural aspirations, independent, cultural tourists); – proximity of other creatives and culturpreneurs; – possibility to refer to the area’s artisanal traditions and use its alternative, ‘authentic’ image to ‘certify’ the uniqueness of the firm’s offer. | high or relatively high | local customers, participants of workshops, to some extent tourists | Slow Fashion Café |
more culture-oriented, independent tourists, Polish and foreign, to some extent residents of other parts of Kraków | Lookarna | |||
local clients, residents of other parts of Kraków, to some extent tourists | Lokator – Atelier PIO | |||
| former working class/ industrial area nearby the inner city – an area considered as an emergent or temporary artistic quarter (Old Podgórze and Zabłocie) | – adaptable, larger, post-industrial surfaces; – relative proximity to the city centre; – possibility to refer to the area’s artisanal traditions and use its alter- native, ‘authentic’ image to ‘certify’ the uniqueness of the firm’s offer; – peace and quiet for artistic creation. | lack of visibility, no need for a more pronounced visibility | no need for daily or direct contacts with the general public, catering to non-local or local, most often commercial customers | Drewniano.com |
| more peripheral locations – outside areas considered historic or artistic | – lower costs; – peace and quiet for artistic creation; – an area’s image not important as artworks or pieces of design offered not linked with a specific spatial image or area. | no need for daily or direct contacts with customers, focus on on-line sales to non-local customers | Brasto |