Page 126 - Studia Universitatis Hereditati, vol 7(1) (2019)
P. 126
dia universitatis her editati, letnik 7 (2019), številk a 1 126SummaryLiteratura in viri
Breznik Močnik, M., Lipovšek, B., Pivec, H.,
hereditatiThe warehouses of Monfort and Grando in Portorož
are protected as cultural heritage and listed as monu- Stepančič, L., Širca, M. in Tivadar, B.
ments of local importance. Monfort warehouse has 2011. Kulturne in kreativne industrije po
been subject to analysis and renovation within the RE- slovensko, Ministrstvo Republike Slovenije
FREsh Interreg project (under the aegis of the Institute za kulturo. https://tovarna.org/files0/
for the protection of cultural heritage of Slovenia), with active/3/brosura-web-si.pdf
the aim to identify a re-use linked to creative industries. Center za kreativnost. 2019. “O nas”. https://
For this purpose, an interdisciplinary research was car- www.czk.si/O_nas.
ried out which formulated proposals for new uses and CISAC. 2015. “Cultural times, The first global
the related marketing model. The marketing model map of cultural and creative industries.”
for Monfort warehouse as a centre for creative indus- https://en.unesco.org/creativity/sites/
tries, which integrates also links with tourism, envisag- creativity/files/cultural_times._the_first_
es external and internal marketing activities. The former global_map_of_cultural_and_creative_
aims at identifying needs and attracting visitors/buyers/ industries.pdf
tourists (i.e. Visitors to museums, workshops, events Direktorat za kulturno dediščino, Ministrstvo
etc.), and the latter to providers or tenants and residents za kulturo RS Slovenija. 2018. “Strategija
of the area. In the external marketing, segmentation kulturne dediščine za obdobje 2018-
and adaptation to the offer and marketing mix to in- 2026; Osnutek (12.2.2018)”. Ljubljana:
dividual segments (domestic or foreign tourists, differ- Ministrstvo za kulturo. http://www.
ent psychographic segments, such as authenticity seek- mk.gov.si/fileadmin/mk.gov.si/
ers, young people seeking entertainment etc.) is crucial. pageuploads/Ministrstvo/Zakonodaja/
This section of marketing aims at meeting the needs Predpisi_v_ pripravi/2018/Strategija_
of the visitors and ensuring the financial performance KD_2018-02-19.pdf.
of tenants/providers. In the case of internal marketing, EU Commission. 2010. “Greenpaper.
understanding the needs of internal publics (tenants or Unlocking the potential of cultural
creative industry providers at the site and local commu- and creative industries”. https://
nity) is crucial in order to communicate effectively with op.europa.eu/en/publication-detail/-/
them – with the aim of raising awareness, connecting, publication/1cb6f484-074b-4913-87b3-
motivating, educating and training for achieving the set 344ccf020eef/language-en
goals to develop creativity of the place and the wider re- Florida, R. 2002. The Rise of the Creative Class:
gion. Through internal market communication, Mon- And How It’s Transforming Work, Leisure,
fort’s offering standards (manner and channels of sale, Community and Everyday Life. New York:
method of interpretation, organisational culture) are Basic Books.
formed and consolidated, while promoting connection FORA. 2010. “New Cluster Concepts
and creation of new values (new events, experiences, of- Activities in Creative industries”.
fer, stories). Monfort has to position itself as an archi- Copenhagen: FORA, Danish Enterprise
tectural and heritage attraction on its attractive seaside and Construction Authority’s Division
micro-location, highlighting the value of space and cre- for Research and Analysis - http://www.
ative content. To achieve long-lasting positive effects of rosted.nu/attachments/File/2010/creative_
creative industries for the area, we suggest a symbiotic industries.pdf
or co-creative marketing, which involves linking sup- GEArt. 2018. Študija izvedljivosti koncepta
ply and promotion to both horizontal (between similar revitalizacije v objektu Monfort. Nazarje:
providers – e.g. museums, artists, advertisers) and verti- GEArt, Vizualne komunikacije d.o.o.
cal (ed with tourist service providers, research institu-
tions …) level.
Breznik Močnik, M., Lipovšek, B., Pivec, H.,
hereditatiThe warehouses of Monfort and Grando in Portorož
are protected as cultural heritage and listed as monu- Stepančič, L., Širca, M. in Tivadar, B.
ments of local importance. Monfort warehouse has 2011. Kulturne in kreativne industrije po
been subject to analysis and renovation within the RE- slovensko, Ministrstvo Republike Slovenije
FREsh Interreg project (under the aegis of the Institute za kulturo. https://tovarna.org/files0/
for the protection of cultural heritage of Slovenia), with active/3/brosura-web-si.pdf
the aim to identify a re-use linked to creative industries. Center za kreativnost. 2019. “O nas”. https://
For this purpose, an interdisciplinary research was car- www.czk.si/O_nas.
ried out which formulated proposals for new uses and CISAC. 2015. “Cultural times, The first global
the related marketing model. The marketing model map of cultural and creative industries.”
for Monfort warehouse as a centre for creative indus- https://en.unesco.org/creativity/sites/
tries, which integrates also links with tourism, envisag- creativity/files/cultural_times._the_first_
es external and internal marketing activities. The former global_map_of_cultural_and_creative_
aims at identifying needs and attracting visitors/buyers/ industries.pdf
tourists (i.e. Visitors to museums, workshops, events Direktorat za kulturno dediščino, Ministrstvo
etc.), and the latter to providers or tenants and residents za kulturo RS Slovenija. 2018. “Strategija
of the area. In the external marketing, segmentation kulturne dediščine za obdobje 2018-
and adaptation to the offer and marketing mix to in- 2026; Osnutek (12.2.2018)”. Ljubljana:
dividual segments (domestic or foreign tourists, differ- Ministrstvo za kulturo. http://www.
ent psychographic segments, such as authenticity seek- mk.gov.si/fileadmin/mk.gov.si/
ers, young people seeking entertainment etc.) is crucial. pageuploads/Ministrstvo/Zakonodaja/
This section of marketing aims at meeting the needs Predpisi_v_ pripravi/2018/Strategija_
of the visitors and ensuring the financial performance KD_2018-02-19.pdf.
of tenants/providers. In the case of internal marketing, EU Commission. 2010. “Greenpaper.
understanding the needs of internal publics (tenants or Unlocking the potential of cultural
creative industry providers at the site and local commu- and creative industries”. https://
nity) is crucial in order to communicate effectively with op.europa.eu/en/publication-detail/-/
them – with the aim of raising awareness, connecting, publication/1cb6f484-074b-4913-87b3-
motivating, educating and training for achieving the set 344ccf020eef/language-en
goals to develop creativity of the place and the wider re- Florida, R. 2002. The Rise of the Creative Class:
gion. Through internal market communication, Mon- And How It’s Transforming Work, Leisure,
fort’s offering standards (manner and channels of sale, Community and Everyday Life. New York:
method of interpretation, organisational culture) are Basic Books.
formed and consolidated, while promoting connection FORA. 2010. “New Cluster Concepts
and creation of new values (new events, experiences, of- Activities in Creative industries”.
fer, stories). Monfort has to position itself as an archi- Copenhagen: FORA, Danish Enterprise
tectural and heritage attraction on its attractive seaside and Construction Authority’s Division
micro-location, highlighting the value of space and cre- for Research and Analysis - http://www.
ative content. To achieve long-lasting positive effects of rosted.nu/attachments/File/2010/creative_
creative industries for the area, we suggest a symbiotic industries.pdf
or co-creative marketing, which involves linking sup- GEArt. 2018. Študija izvedljivosti koncepta
ply and promotion to both horizontal (between similar revitalizacije v objektu Monfort. Nazarje:
providers – e.g. museums, artists, advertisers) and verti- GEArt, Vizualne komunikacije d.o.o.
cal (ed with tourist service providers, research institu-
tions …) level.
