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GUIDE TOPLACES AND SPACES

OF CREATIVE INCUBATIONIN CENTRAL EUROPESUPPORTED BY

PROJECT PARTNERS

OTHER PARTNERS


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Content

Doescreativity

needincubation?

9

What isa business incubatorand how can it be

creative?

10

CreativeIncubatorsin V4

countries

15

Hungary

17

Slovakia

27

Poland

37

CzechRepublic

47

Conclusions

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Doescreativity

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This guidebook is one of the results of a project

realized by Neulogy, a.s. (SK), BudapestObservatory (HU), Institut umn Divadelnstav (CZ) and Art Inkubator Fabryka Sztuki(PL). The aim of this collaboration, supportedby the Visegrad Fund was to focus onthe phenomenon of creative incubators asplaces for nurturing the entrepreneurial skillsof the cultural sector, clustering and creatingnew ideas. The rise of creative industries, asentrepreneurial activities fostering individualcreativity, skills and talent, shows how culturecan be an important factor in developmentand economic growth. Nowadays, incubators,clusters, co-working spaces and other venturesconcentrating creative workforce are veryimportant tools for new approaches to culture,

arts and economy.

Project V4 Creative Incubators was created

with the aim to better understand the dynamicsof creative incubators and specific conditionsfor their development and existence inthe reality of Central Europe. We tried to mapexisting initiatives and better understand theirspecific challenges, needs, goals, modes ofoperation and their potential. We have beenmapping constantly inspiring examples allover Europe, as well as documents, policies,studies etc. (www.creativeincubators.eu)and comparing them to the reality of CentralEurope.

As it happens to all topical and up-to-datemovements and phenomena, the informationgiven on the following pages is old in the very

moment of publishing. The activities described

here emerge and dissolve, re-group and resurrectin a very dynamic pattern, but they apparentlyshape the landscape of progressive and smartentrepreneurship everywhere, and - as wecan clearly see - Central Europe does not lagbehind.

Creative people can always find their ways tocluster, innovate, bring up new ideas and getthem realized. But places, cities, regions

and countries, aware of the enormous economicand social potential of creative economy, canboost this grassroots boiling and bring it toanother level by introducing good policies,incentives, measures and s upport, which bringnew types of smart economic and social

developments to its stakeholders.

These pages can inspire those, who have ideas

to incubate, but also create awareness as a firststep to good policies.

Zora JaurovCreative Industries Consultant

Neulogy, a.s.

Intorduction

The economic

performance ofthe cultural and creativesectors is recognised:

in the EU they accountfor 3.3 % of GDP

and employ 6.7 million

people (3 % of totalemployment).2010 European Competitiveness Report


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Intorduction

What isa business incubator

and how can it becreative?

The objective of the business incubator is to

take people with an idea and send them outwith a successful venture. In this processincubators provide access to knowledge,expertise, technology, networks, moneyand markets.

A business incubator is an entity which helpsstart-up businesses with all the necessaryresources or support that the start-up needsto evolve and grow into a mature business.

Typically, incubators provide the clients (start-upbusinesses supported by the incubator) withnecessary infrastructure support, technologydevelopment support, research assistance,help clients get funding, business consultingassistance and do whatever is necessary to

make the start-up a success.

Business incubators are organizations that

support the entrepreneurial process by helping

to increase survival rates for innovative start-up

companies. Entrepreneurs with feasible projectsare selected and admitted into the incubators,where they are offered a specialized menu ofsupport resources and services.

with regional and national government agencies, from which they often receive financial grants.In many countries, business incubators have

national associations to represent their interestsand organize meetings where best practicesare disseminated.

History of Business Incubators

The formal concept of business incubationbegan in the USA in the 1960s. The very firstcommonly known business incubator wasThe Batavia Industrial Center, establishedin 1959 in New York. However, until the late

1970s there were only 12 business incubatorswithin the USA.1The real boom of incubatingnew ventures came in the 1980s, whenthe limitations of economies based solely onlarge corporations were spotted. Since thisperiod, the contribution of small enterprisesas well as the importance of their creationand growth have been widely recognized.Currently, there are about 1250 incubatorsin the U.S. only.2

The concept later developed in the UKand Europe through various related forms

(e.g. innovation centres, ppinires dentreprises,science parks) during the 1980s.

The rapid increase in incubation activity overthe last 15-20 years can be attributed to a number of factors. Business incubation has beenidentified as a means of meeting a variety ofeconomic and socio-economic policy needs,which may include:

EMPLOYMENT AND WEALTH CREATION

SUPPORT FOR SMALL FIRMS WITH HIGH GROWTH

POTENTIAL

TRANSFER OF TECHNOLOGY

PROMOTING INNOVATION

ENHANCING LINKS BETWEEN UNIVERSITIES,

RESEARCH INSTITUTIONS AND THE BUSINESS

COMMUNITY

INDUSTRY CLUSTER DEVELOPMENT

A study funded by the European Commissionin 2002 identified around 900 incubationenvironments in Western Europe.3The NBIA

estimates the current number in the U.S. to bearound 1500. Incubation activity has not beenlimited to developed countries; incubationenvironments are now being implemented indeveloping countries and raising interest forfinancial support from organizations such asthe World Bank.

Among the range of available economicdevelopment program tools, the process ofbusiness incubation and the development offacility-based business incubators have beena growth industry over the past two decades.

Nowadays, business incubators acceleratesuccessful development of entrepreneurialcompanies through an array of businesssupport resources and services, developedor orchestrated by incubator management,and offered both in the incubator and throughits network of contacts. A business incubatorsmain goal is to produce successful firms thatwill leave the program financially viableand freestanding. These incubator graduateshave the potential to create jobs, revitalizeneighbourhoods, commercialize criticaltechnologies and strengthen local and nationaleconomies.

Among the first generation of incubators,

the majority focused on relatively lowtechnology businesses, typically in the serviceand manufacturing sectors. Gradually,the incubation industry expanded in sizeand sophistication of businesses representedamong client companies.

Resources and services open to an entrepreneur

might include such diverse elements as:

PROVISION OF PHYSICAL SPACE

MANAGEMENT COACHING

HELP IN PREPARING AN EFFECTIVE BUSINESS PLAN

ADMINISTRATIVE SERVICES

TECHNICAL SUPPORT

BUSINESS NETWORKING

ADVICE ON INTELLECTUAL PROPERTY

HELP IN FINDING SOURCES OF FINANCING

Business incubators can be private or public.Private incubators are for-profit firms thattake equity or receive a fee for the business

services they provide to their clients. In essence,they are a consulting firm that specializesin new firm creation. Since the 1980s, many

developed and developing countries haveset up systems of public business incubatorsto encourage and assist entrepreneurship. Inmany cases, public incubators are focusedon high-tech industries. For science-basedbusiness incubators, an effective collaborationwith universities and research institutes canmotivate researchers into taking the risk ofinitiating a company.

Incubators can have many partners in addition

to universities. Since new firms require financesto grow, incubators have close relationshipswith many kinds of investors. Seed capitaland venture capital funds, business angelsand banks generally provide most of the seed

and start-up capital for incubated companies.Since business incubators are powerful economicdevelopment tools, they collaborate actively

1 National business incubators association (NBIA).

www.nbia.org/resource_library/history/index.php

2 Bloomberg Businessweek , www.businessweek.com/

articles/2012-11-06/the-number-and-variety-of-business-

incubators-is-on-the-rise#p1

3 Centre for Strategy and Evaluation Services, Benchmarking

of Business Incubators, Brussels, European Commission

Enterprise Directorate General, 2002


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Creative Sector and Incubation

The rapid changes in industrial processes andthe revolution of digital technologies havecreated an entirely new demand for creativeideas, talent and processes. Creativity, culturaland creative industries and creative economyare talked about as an important and growingpart of the global economy, located at

the interface of culture, business and technology.

The very process of incubation is essential tothe creative process creative and artisticideas are being incubated in the mind of their

creator and throughout the process, until theyare incarnated into creative work or product.

That is why in the creative sector, the clusteringtypical for incubators has always been presentin various forms. Over the last few decades,

this has been accelerated by the post-industrial

situation in many cities across Europe and NorthAmerica. Former industrial spaces, such as oldwarehouses, showrooms and factories, havebeen left behind by traditional manufacturing

activities due to deindustrialization and industrial restructuring processes. These buildings have

become a natural attraction for artistic activities first an informal (often illegal), later aninstitutionalised occupation of abandoned

sites has been the base for the emergenceof phenomena of post-industrial culturalspaces, hosting artists, ateliers, event venues,galleries etc.

With the boom of creative economy, the demand for creative ideas is growing and these are

often sought in places with a high concentration of arts and culture. On the other hand, culturalspaces face the need to reconsider traditionaloperational models due to decrease of directfunding and new managerial and economicdemands. Mainly over the last decade we cansee a lot of new infrastructure dedicated toincubation services for creative industries orjust creative businesses emerging in the cities

around the world. Also the challenges of urbanregeneration and recreation of communitiesare being targeted by regeneration projects

based upon the provision of affordableworkspace for artists and creative industriesas well as on innovative design principles.The reason for that is that their workand organizational attributes make themparticularly well-suited for location inpost-industrial urban factories. The majorityof cultural and creative firms are small-sized,independent and unstable organizations.They need affordable and flexible workspacesand leases. They also require being in a placethat is well-connected to formal and informalnetworks, that nurtures creativity and that

enables them to keep abreast of current trends

and opportunities. All these features are almostalways found in post-industrial spaces in innercities.Creative incubators combine the functions ofbusiness incubators and creative ateliers inorder to stimulate creative ideas and to makethe best commercial use of them. The servicesand the benefits from incubation are basically

same as in business incubators. They offer spaceand office equipment to creative businesses orartists at subsidized rates. Furthermore, they

enhance development of these creative venturesby providing consultations and trainings. Eachof the services is uniquely designed to meetthe needs of the community. The main idea of

these incubators is to foster the communityin creation of viable ideas with a commercialpotential. However, the specific role of creativeincubators often is to bridge the worlds ofbusiness and arts/culture and to provide space

for new encounters which can create innovationwith commercial potential. As the PolicyHandbook of OMC Expert Group on Creative

and Cultural Industries states,4there is no uniquedefinition or criteria for cultural or creativeincubators. They vary in size, location, workingprinciples and selection of tenant companies.Some incubators concentrate more on culturaloperators (working mainly as residencies),others purely focus on creative entrepreneursor target a certain cluster of companies, such

as games companies. More and more regularbusiness incubators are looking into acceptingcreative businesses into their incubation

programmes, but there is still an apparent need to develop specialised incubators for culturaland creative industries (CCIs) for three mainreasons:

CCIS ARE GENERALLY LOOKING FOR AN INSPIRING,

LIVELY ENVIRONMENT TO OPERATE IN

CCIS NEED SPECIALISED CONSULTANCY SERVICES

THAT TAKE INTO ACCOUNT THEIR SPECIFIC

OPERATING MODELS

CCIS OFTEN OPERATE ON PROTOTYPE OR PROJECT

BASE AND PROFIT FROM LIKEMINDED COTENANTS

FROM OTHER CCIS THAT CREATE SYNERGY AND NEW

BUSINESS OPPORTUNITIES.

A good example of a complex strategy forcreative industries development, which includes incubators as one of the main triggers of cityregeneration and development is the case ofLondon and its creative industries businesspractices introduced over the past 20 years.The culture and creative industry-focusedregeneration projects in London have all hadpositive economic and regeneration impacts.The majority of this impact rests in offeringbusiness space and studio space to artists andcreative businesses which have pulled like-

minded investors, businesses, and visitors tothe area boosting the profile of the respectiveareas, and reinforcing the areas potential forfurther growth and development. London hasalso created partnerships between non-profitgroups and government agencies which hasresulted in creative industry incubators suchas the London Apparel Resource Centre whichfocuses on the fashion industry and is fullyfunded by the London Development Agency,

and offers grant programmes, training, mentoring,work studios equipped with state-of-the-arttechnology, and support and involvement fromfashion industry insiders who act as mentors.

The results of these efforts in London havebeen economically successful from a cost persquare foot ratio, and from the perspective ofproviding affordable resources to artistsand creative businesses.5

4 Policy Handbook on Cultural and Creative Industries in local,

regional and national development strategies, EU OMC

Expert Group on Cultural and Creative Industries, 2012

5 John Montgomery: Urban Cultures, Planning, Practice,

& Research, 22 (4), pp. 601-617, 2007

Intorduction

Between 2008and 2011, employment

in the cultural and creativesectors proved more

resilient than in the EUeconomy as a whole.

Eurostat (EU-LFS)


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CreativeIncubators

in V4countries

Regions with highconcentrations of creative

and cultural industrieshave Europes highest

prosperity levels.

Priority Sector Report: Creative and Cultural Industries 2010

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Hungary is new to launching incubators mostof them were established on account of EUfunds, whether being business or creativeincubators. Being new to this field, culturalindustry policy settings lack. As e arly as 2007,however, the Creative Industries TechnologyPlatform (CITF) was established following EUtrends. Within the R&D Framework Programme,CITF intends to support Hungarian creativeentrepreneurship with its R&D and innovationactivities, allowing for the sector to flourish.Nevertheless, their web portal carries norecent entries.

There are very distinctive patterns consideringthe functions and locations of Hungarianincubators. While some spaces only serve asco-habiting places for entrepreneurs with noadded value, others are designed so as to playa part in the creative industries sphere,

and again others, who do not even call themselvesincubators, cover all or most of the functionsan incubator house includes. The list is verydiverse, however, characteristics differextensively between urban and rural areas.Most of the incubator houses we encounteredduring the study are centred in the capital witheven higher rates among creative incubators.

The process of mapping Hungarian creative

incubators included several steps. Startingwith our closer network partners, we collected

a list of incubators existing in Hungary and then

using the snowball effect we found several

other institutions. Prior to requesting interviews,we identified the organizations relevant forthe study based on the institutions onlineprofiles. Finally, seven institutions were askedto contribute to the study with interviewsand institutional visits, out of which five couldaccept the request. The interviews followeda semi-structured questionnaire and focusedhighly on the institutions orientation, physicaland intellectual infrastructure, admission androtation conditions as well as the process ofmarket tracking.

The chapter presents short case-studies ofeach interviewed institution. We also includedthe institutions which could not participatedirectly. Apart from these institutions,

a description is presented also about the partnerof this project, Zsolnay Cultural Quarter

and Incubational House, which is yet in an initialstate, but contributed highly to ourunderstanding of incubators in Hungary.

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Jurnyi Kzssgi ProdukcisInkubtorhz Jurnyi ArtIncubator House

www.fugeprodukcio.hu

www.juranyihaz.hu (to be launched)

The Jurnyi Art Incubator House was openedon 29th October 2012; therefore its system ofincubation and co-working is yet very freshand is its structures are still developing.A former school building rented from the local

government serves as the location and thereforeprovides the necessary physical infrastructure.The venue is huge; an approximate 6500 m 2area on five stories offers offices, (rehearsal)studios and storerooms for clients of threespecific target groups.

Prior to the establishment of the incubator house,its profile had been determined. The FGEFoundation (Independently Together) runningthe centre is an umbrella and productionorganisation officially registered in 2006. It hasan established network of representatives ofindependent performance artists and groupswhich forms the basic target-group ofthe incubator. Through the second circle ofnetworks (connections of the performancearts groups) visual artists and craftsmen were

invited to form a second, complementary targetgroup to facilitate the processes of production.

Following the same basic idea, civil organisationsare also hosted as they are of help regardingtopics and themes for the performers. Even

though most of the tenants received their place

through an invitational system, a very few places were open for applications. As such, there isstill a long list of groups requesting admission.

Entering the building one can find thesecolourful pathways leading to the individualoffices, different studios and rehearsal hallsmaking it a playful live-maze. The physical

infrastructure is, however, still under construction(a coffee shop has just been introduced),therefore the main focus still lies there, leavingimprovement of intellectual infrastructure, the

software slightly behind. A well-functioning

system of operational support already exists tenants may avail themselves of legal or

application-writing consultancy, however further

improvements will prevail including bookkeepingconsultancy, as well as a general managementcourse of two semesters.

Tenants can rent also individual offices, slightly

isolated from other spaces. Being provided withthe necessary infrastructure, they can focuson the production itself. Apart from supportingorganisations without any rotation in mind,Jurnyi has a special rotational system

established for start-up performers. The key-pass

system provides free rehearsal rooms for artistsup to the point when they become registered

groups, when the key of the free rehearsalroom is passed on to another group in need.

SN Kulturlis Kzpont SN Culture Center

www.sinarts.org/SIN_Culture_Center.html

SN Culture Center opened in 2008 starting offwith a tightly-knit group of performers wishingto fill a gap on the market. With independentperformers as their prior target group, they

wanted to create a space where choreographersand (mainly dance) groups could workand rehearse freely. Experience from Americaand another institution preceded the present

one; therefore the aims were clear from the start.

SN provides infrastructure for free and forthe share of utilities. Four studios are availablefor practices which are shared by two types ofclients independent performer groups

and for-profit groups which follow different rules. As the basic idea is to support independentperformers, they receive everything for free;meanwhile, for-profit groups are required toparticipate in cost sharing of the institution.The main income does not come, though, from

tenants, as there are only two of them at stay,but they are provided with resources from EUfunds.

The system is based on rotation, which meansthey admit programs until these are finished.However, they also include selection based ona letter of application describing the projectplan and performance details, e conomicbackground and the applicants references.SN embraces the admitted projects and helpsthem through the production and if necessary,gives assistance with fundraising, however

these are the only services provide. They donot aim to support the organisations in anyother way. Additional residency programmeswith infrastructural supplies supportinginternational cooperation and individualimprovements are also included. SN alsoestablished a competition for choreographers,which supports their progress. As such, SNprovides incubation for individuals to grow.

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Bakelit Multi Art Center

www.bakelitstudio.hu

Bakelit Multi Art Center is a typical exampleof cultural recycling of old industrial places.Located on the outskirts of Budapest, Bakelitoccupies an old building of a former spinningfactory. The area is huge and is under constantconstruction leaving space for further culturalinvolvement.

This cultural house works with a perfect

combination of for-profit and non-profit activities.

While its basic profile is to support fineand performing artists, however, in order toachieve this they use the infrastructure to gainre-investable profit. The place includesa hostel and dining infrastructure and facilitiesapart from studios, rehearsal halls, exhibitionand event rooms which all incorporate both for-and non-profit aspects. As everything is locally

available leaving behind the metropolitan bustle,

the perfect place for artistic creation is availableto both national and international guests.However, such infrastructure is also an idealsetting for business meetings, conferences andprivate events (such as weddings, parties etc.).

Bakelit M. A. C. supports artists in three different

ways. First, it provides the location forperforming arts groups with a self-regulatedrotational system, as well as with mentoring

for application writing. They find EU fundsthe most important resource for creative

industries; therefore apart from applyingthemselves, they also form joint applicationswith the performance groups. Second,

a residency programme for fine and performingartists has been established, which also meetsthe necessary infrastructural needs. As a thirdactivity, the centre welcomes interns andvolunteers for various positions.

Loffice Coworking

www.budapest.lofficecoworking.com

This family business is a so-called new-

generation office launched in 2009. Usingthe method of cultural recycling of industrialbuildings, the company first claimed a formerprinting office and then later on occupied four

more buildings including one in Vienna. As theirmotto says, Loffice is the place wherethe creative and the business spheres coincide.

The Klementz sisters as founders consciouslyemphasized the inclusion of contemporaryart while creating workstations, offices, eventspaces and exhibition areas. As they welcomeany micro and medium-sized enterprises, they

encourage creative cooperation within differentsectors, which, they believe, are triggered bythe modern design and unique characteristics

of the facilities. The co-working area is situated in a loft (serving also as an origin of the name),which refers to a high-ceiling hall, rather thanan attic. In this loft area several working desks

are available not predetermined with ownership. Tenants only rent seats, not specific desks, onemonth ahead which results in a natural andconstant fluctuation.

Even though Loffice is a for-profit rental system, they provide several incubational servicesand non-profit activities. Their mission is tooffer consultancy and trainings to tenants,while they also organise networking eventsand workshops on business, legal, financialand economic topics. As a rather specialfeature they also provide virtual office spacesgiving a postal address and storage for small-budget companies. They also find it importantto foster creative processes; therefore theycreated an office-design competition providingexhibition spaces to the winning designs.

Loffice initiates the blending of creativeindustries and economic enterprises. As a method

of inspiration, cooperation, community buildingand innovation, creative industries areincorporated into the day-to-day lives of

the tenants. On the top of other qualities, Lofficeprioritizes sustainable development, becomingalso a green office (prize won in 2011).

Hungary

H

U i it f D b I b ti l


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University of Debrecen IncubationalCentre of Creative Industries Debreceni Egyetem Kreatv IpargakInkubcis Kzpontja (DEKIIK)

www.dekiik.hu

DEKIIK is a technically and technologicallymodern infrastructure established in 2009.Executed by the Debrecen Info Park withan already existing IT infrastructure , thisincubational house was formed to host anyorganisations along four different profiles itis open to anyone who needs infrastructuralsupport for 2D and 3D animation, works withdata privacy and data security, has profilesincluding e-community or is a call/contactcentre. Further admission criteria are set fortheir strict rotational incubation-period, onlyyoung (maximum 3 years old) micro and smallenterprises or companies with RDI activitiesdeveloping new products can apply, while theyalso have to be profit-oriented.

Set up with strict rules, DEKIIK provides accessto offices equipped with high-end technicalinfrastructure including video conferenceequipment, projector and projection screen.Tenants may rent the offices for a reduced

price in the first 3 years, while during the fourthyear they have to pay the full price forthe location. Afterwards, starting with the 5thyear, the rental costs are raised every monthmotivating a natural fluctuation process.During their stay, however, tenants have full

access to the present instruments for an annualrental fee, and free access to marketingsupport, sales support, tender advice andpartner search. Organisations may also attendtrainings to require sufficient manpower for

management and organisational improvements.

Keleti-Blokk

www.kblokk.hu

Keleti-Blokk is a special example amongthe incubator houses at scope, as it is the onlyone specifically addressing performing artswith the main profile of music. Even thoughthey provide exhibition halls and studiosfor fine artists and craftsmen, most of theirinfrastructure exists to help musicians meettheir needs for production. One can find28 music studios, 5 fine arts studios, twocommunity rehearsal halls and additionalspaces for creation and exhibition.

Community and Art Level Mveldsi Szint MSZI

www.muszi.org

Starting off with a theatre group struggling

to find a suitable rehearsal room after series ofshutdowns in November, 2011, MSZI wasestablished to fill the gap on the arts market.Seizing a proffered opportunity, they agreedto conduct an economic recovery of a 2800square meter space provided by a privateowner in the heart of Budapest. As the sectorhas limited access to public funds anyway,the board decided to execute their plans

independently, as a market economy enterprisehighly relying on community effort making(re)use of everything the network can offer.

Although still under construction, MSZIprovides 20 studios, two multifunctionalperformance and exhibition spaces, oneworkshop room, caf & bar, a co-working area,a community garden and a greenhouse. Beinga host-place, MSZI is open for NGOs,

community arts projects, creative workshopsand various cultural and social events with noinput or output criteria forming a self-regulated rotational system. All processesare bottom-up, the staff is open to ideasand cooperations, which leads to a mix-upof different sectors. Even though they are

providing for the audience (as a for-profit body),the artistic director rather defines them ascommunities forming their own programmes.They define themselves as a new-agecommunity centre which also helps start-upprocesses of independent artists as anincubational process.

Zsolnay Cultural Quarter while 50% of the companies having left

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yand Incubator House

www.zskn.hu

The Zsolnay Cultural Quarter located in Pcsserves as a new cultural centre for both localsand tourists. Having renewed the existinginfrastructure of an old ceramics factory,

Zsolnay Centre today still hosts the modernisedfactory, as well as 7 permanent exhibitions,a planetarium, several concert and conferencevenues, 4 coffees and bars, 2 restaurants,10 shops (tenants), and 10 offices to rent to

creativebusinesses. The Faculty of Arts andthe Department of Communication and MediaStudies are also located within the premises.

In 2010, the Zsolnay Cultural Quarter wasone of the leading projects of the Pcs 2010European Capital of Culture programme.The re-cultivation of the area of the ceramicsfactory, the greater part of which had ceasedto operate, has been co-financed by the EUand is still in progress. The bid for the Capitalof Culture title included the establishment ofa creative incubational structure in the Quarter,combining the mixed facilities available inthe Centre.

Thanks to the productive contribution ofthe Capital of Culture programme, Pcs hasundergone major changes in the last few years.By now, the perks of the improvements canbe seen all around the city, as well as inthe statistics. However, as any enormousproject, the cultural investments of Pcs werealso endangered in many ways seemingly

affecting the weakest link the incubator house.

In the original documents on the ZsolnayCultural Quarter, building an incubator housewas supposed to serve as a link between

the creative industries and the business sphere;

the improvement levels were defined by specific indicators. They set the goals for the incubator

to be working in full capacity within threeyears, as well as having at least 50 enterpriseswhich should avail themselves of the services,

the incubator should still be working inthe creative sector of Pcs. However, havingaimed too high and facing financial capacityproblems, the system has not taken off yet.

One may ask why the incubator house isthe weakest jigsaw in the project, and one canonly guess. Establishing creative incubatorshas just started in Hungary leaving onlyforeign examples to follow. This handbookalso addresses the challenge that the conceptand criteria of creative incubators are not yetsufficiently defined, leaving too many options

to decide about for the founders. It must,however, be emphasised, that the ZsolnayCentre has met with enormous success amongvarious segments of the public and possessesthe capacities to implement the plans ofthe incubator house as has been was set inthe initial ideas.

The description of the situation of incubatorsin Hungary would be complete withthe perspective of tenants, too; these, however,are missing from these case presentations.As it seems from the interviews and the visitsto the institutions, most of the groups taking

economic advantage of the institutions donot seem to perceive the full potential of co-habiting. A certain set of mind developed bythe organisations is necessary to establish co-working and cooperating systems. The level ofcooperation in each institution is different astheir profiles, aims and histories are different,which brings us to the conclusion that thissystem is still in its evolutionary state, bringingfurther improvements in cross-sectorialand inter-sectorial cooperation in the future.

Slovakia

SloThe idea of incubators as places and spaces for

f llHowever, there is still very little structured

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ovakia

entrepreneurs forming new companies is stillnew even to the Slovak business environment.A suitably equipped and functioning networkof incubators providing an entrepreneur withthe premises, a complex range of services

and necessary starting capital is, in comparison

with Europe, at its very beginning. With the helpof the PHARE and EU funds several so-calledbusiness incubators have been established allover the country. However, these often hostvery traditional businesses with no added orinnovative value. There is still a long wayto go before establishing vivid multilateral

partnerships between universities, researchand development institutions, and businessand venture capital. The top-down approachof the origin of most of those incubators has

resulted in a situation, in which the management and the conditions determined by public fundsspending rules have often been too rigid to

really react to the needs of the sector. However,over the past few years we can see a freshbottom-up movement of young entrepreneursand innovators attempting to establish self-sustainable places with incubation services.

When it comes to the creative sector, for a longtime there has been very little understanding

of cultural and creative industries on both sides

of the society the entrepreneurial communityand economic experts on the one handand creative community on the other. It is onlyan issue of last decade that the economicaspect of creative activities has been explored

and taken into consideration. It is also connectedto an increasing understanding of innovativeecologies, where the creative professionalsplay an important role.

understanding of the needs of creativebusinesses and no policy frameworks havebeen established for their development sofar. An initiative of the Ministry of Culture todraft an analysis of the present conditionsof creative industries in Slovakia has beenannounced in 2013 and it is the first of a kind.That is one of the reasons why all followingexamples of creative incubators or similarinitiatives are either very specific or et in

development. They are, however, quite promisingpilots for the upcoming years.

CvernovkaBRATISLAVASlov


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Bratislava as the capital is a place of primary

and natural concentration of creativeprofessionals, with the appropriate skills, ideas

and ability to network locally and internationally.That is why the main concentration of creativeincubators is found here. After a long periodwhen the creative sector and its potentialeconomic activities were overshadowed byproblems connected to the major economicand political transformation of the society, wecan now see a lot of new activities in ateliers,creative studios, co-working spaces and similarinitiatives. There is suddenly an explicit need

within the sector to create spaces and platforms for meetings, collaborative work

and development.For a long time, the missinginfrastructure for this kind of activities has

been the main obstacle of a more structureddevelopment of the creative sector. Most of

the postindustrial areas in Bratislava city centrehave been demolished by private owners withthe aim to develop them, but after the crisishad begun, they have left them in ruins or in

a very bad condition. Over the last few yearswehave seen a significant number of new bottom-up initiatives focused on both incubationand clustering of creative professionals andinnovative approach to urban spaces and sites.

www.cvernovka.sk

www.galeriacvernovka.sk

The large complex of the former thread factorywas built at the beginning of 20th century.After 1989 the original production has been

gradually decreasing until it stopped altogetherand the whole building complex was sold toprivate developer. Due to the economic crisisrefurbishing plans had been postponed and

somehow the spaces naturally started to attractcreative professionals. The relatively cheap

rent together with the beauty of industrial hallshas created a very unique creative communityof architects, visual artists, graphic designers,photographers and fashion designers overthe few years.

While never intended as an incubator and lackingany top-down strategy, the community has

generated common activities and services, which

are typical for incubation. Shared responsibilitiesfor the common spaces, joint activities, cross-

fertilisation projects and events, training sessionsetc. have become a natural part of creative life

in Cvernovka. This social and creative value hasincreased the demand for spaces in the factoryand gave birth to other activities (e.g. Connect

Co-working see below).

The story of Cvernovka is a significant onefor the circumstances in Slovakia. It has beencreated by the community itself without anyintentional strategy as a reaction to non-existing policies, supporting structures orinfrastructure for creative professionals. It is,however, fully dependent on the decision ofthe private owner of the building regarding

the beginning of the development of the buildingcomplex, which will destroy the existingecosystem of creative professionals.

Cvernovka and its story can be perceived asa pilot or forerunner of creative incubatorsand co-working spaces in Slovakia, since it hasproved that this model is even economicallyviable and can be managed.

Connect Co-Working

www.connect-network.com

The relatively new co-working space is also tobe found in the Cvernovka complex. It is basedon traditional principles of co-working (rentof space, desks and services) and it focuseson innovative entrepreneurial ideas. The mainemphasis is put on facilitating cooperationamong various innovative activities. It featuresa large and interesting meeting space, whichis hosting more and more conferences,workshops and other events. Even if notexplicitly focused on creative professionals,a lot of its activities involve creative industriesand social innovations.

the Potentialfor Creative Clusters

vakia

Slova

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akia

KC Dunaj

www.kcdunaj.sk

The former large department store building

located in one of the main squares of Bratislavacity centre had been empty for several years.In 2011, a group of creative professionalsconverted one floor into the cultural venue/club KC Dunaj. From the outside, it operates as

a regular programmed venue, but the internalmodel of program composition works as a nincubator for event organizers, promotersand cultural operators. It also offers spacesand offices for small cultural organizersand creative industries companies, in additionto common spaces and offices. The specificprogram called QuickKancle offers office space(desks) and training in marketing and PR to5 creative NGOs each year, based on call forproposals.

The planned activities of KC Dunaj forthe forthcoming months and years includea public garden on the roof of the buildingand an entire new floor offering atelierand working spaces to artists and creativeindustries companies.

This initiative represents another fullybottom-up established venture, based ona union of various creative professionsand on combined mode of financing. A veryeffective collaboration between stakeholdershas created an inspiring and nurturingenvironment for young creative professionalsand has quickly become a popular culturalvenue in Bratislava. It also operates in a hubtogether with The Spot (see below).

The Spot

www.thespot.sk

The Spot is a physical (and on-line) spacefor the support of the start-up community.Similarly to KC Dunaj, it is to be found inthe former department store Dunaj, whereit occupies another separate floor. It is notan incubator specifically focused on creativeindustries, but it offers incubation services,creative working environment, trainings,meeting and a chill-out space for variousinnovative start-ups, including those witha strong creative component. Its workstresses activities focused on creatinga community of innovative people with freshideas all over the country.

Stanica ilina-Zrieie/Cultural Node

The cultural centre in the building of a stilloperating small train station located undera highway roundabout was founded in 2003.At that time, it was by far the first reallyindependent cultural venue focused oncontemporary culture in the entire country.The work of Stanica has been pioneering inmany ways since then, going beyond the limitsof what was thought possible in Slovakia interms of organizing, funding and creatingculture, arts and community.

Having always been mainly a cultural venue,it is not a creative incubator which would

offer the obvious set of incubation servicesexplicitly. However, over the years it hasbecome an incubator for many creative ideasin arts and creative industries. Their residencyprogram, but also new projects in development(S2 theatre and dance venue built from beercrates and hay bales, S3 gallery and ateliersfrom ship containers, and mainly refurbishingof the Neological Synagogue in ilina withthe aim to establish a Kunsthalle there) arethe incubators of new and innovative ideas

involving many cultural and creative professionals,which foster entirely new partnerships,collaborations and create new communities.

Stanica is a place where new ideas for culture

incubate constantly. It was, and still is, in manyways a model and origin for many other creativespaces in Slovakia.

Benchmarkingthe Cultural Space

Slovak

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kia

Promisesto Be Fulfilled

The city of Koice is the European Capitalof Culture 2013. The original project Koice

INTERFACE 2013, which won the bid forECOC was based on the holistic concept ofdevelopment of the city, with a strong focus

on culture and creative industries. Viainvestmentsinto new types of culturalinfrastructure and support of culturaland creative industries this post-industrialand post-military city sought to find a newidentity based on creativity, communicationand openness.

During the implementation of the project a lotof changes were made to the original visionand until today most of the big investmentshave not been completed. The idea of creativeincubators as focal points for a future

development of the city still resonates inthe present activities and hopefully at leasta few of them will start taking place beforethe end of 2013. The next few years will showhow effective these can be.

Kasrne Kulturpark

www.kulturpark.sk

http://www.kosice2013.sk/en/projects/kasarnekulturpark/

A building complex of former militarywarehouse with great historical value isbeing transformed into a multi-genre culturalvenue, including spaces for creative incubatorand ateliers. The municipality declares thatthe centre will also include the support ofcompanies, organisations, civil associations

and artistic groups involved in various typesof creative activities, in order to create areaconcentration and resulting synergy. With itsnature, it should serve as support for smalland medium businesses in the creative sector.It will also provide space for subjects focusingupon educational activities in the creativeindustry, contemporary art and new media.

The centre is planned to open in the lastquarter of 2013.

Tabaka

www.tabacka.sk

Tabaka is the result of a civic initiative thatwas formed in the 1990s with the need tofind spaces for hanging out and putting oncontemporary art and music productionsin the wild climate following the end of theCommunist rule. After moving from space tospace within the city, in 2009 the initiativefinally (we hope) put its anchors down in

the former tobacco factory in the heart ofthe city. It is primarily focused on programmingof contemporary arts and experimental artisticevents. In addition to that it hosts artistresidencies and creates a meeting space forvarious art communities.

As a part of the investments rea lized inconnection with the Koice European Capitalof Culture 2013, Tabaka is being refurbished

with the aim to extend its activities and services. Part of the new space will be used as a creativeincubator for young creative entrepreneurswishing to set up small businesses in Koicewith the aim to interlink the arts, science, smalllocal businesses and local industry.

The new spaces will be finished in the first halfof 2014.

Creative Centre Halmihodvor Media Incubator

CONCLUSIONS

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www.oneclick.sk

The privately-owned space on a main streetwas opened recently and it is focusedexclusively on media and interactive media.The owner - a company operating in on-lineand media marketing (One Click) has fullyfurbished a film studio with technology forprofessional photography, film, video and 3Dproduction. It offers standard rental ofthe studio and technology, together with

training courses and professional assistance.In September 2013 a new co-working spacewill open, which will include a training moduleof business accelerator for SMEs working infilm and media.

All of the described examples are either fullybottom-up initiatives with the general ideato support and develop cultural space orinitiatives yet to be realized. Most of them arerun by groups of creative professionals withoutdirect public support and the incubationservices provided are only part of theiractivities or a result of these. This situationis caused by a long-term absence of policies,frameworks and infrastructure for moderncultural and creative life where individualsand private initiatives often substitute the

inadequately fulfilled public role. On the otherhand it is a sign of healthy grassroots culturewhich is able to produce successful pilotsand initiate public debate.

Existing initiatives often bridge gaps betweenthe creative and the business communities,

creating new models of partnerships, developingpilot support programmes and building case-studies for new types of creative ecologies,which can generate both economic profitand development, and creative enhancementof the public space. All of this gives the bestbackground for effective policies, recognizingthese efforts which should be developed inthe following years.

Poland

Poland

The fact that there is no national definition of

creative industries does not make a researcherslife any easier and results in a reproduction

much more active in taking action and obtainingfunds on their own. Some of them managed toput together projects (financed mainly through


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In Poland, similarly to most European countries,the subject of creative sector has gainedpopularity over the past years both amongnational and local decision makers. As forthe latter, it can be described as an actualtrend. As a result, a number of studies havebeen commissioned, projects conductedand strategies written. Some are beingimplemented and followed-up, some endedup on office shelves and in the archives.Most Polish cities and regions commissioned

research and mapping of the sector. Creativitybecame also one of the most popular termsused for branding in Polish cities. Yet, mostof them do not have a consistent strategy ofdevelopment of the sector.

One of the first attempts to map the creative

sector at national level was a study commissioned

by the Ministry of Economy titled The Analysis

of Needs and Development of the CreativeIndustries. It was conducted by the consulting

company ECORYS and published in 2009. Theresult is a report, which is, in fact, more ofa comparison study than a mapping report, asit presents different approaches to definingand supporting creative entrepreneurshipand lists good practices in different countries.

However, it is a positive outcome of the documentthat it contains a number of recommendationsfor the national administration.

The aim of a second study (carried out bythe Institute for Structural Research) was to

grasp the economic value of the sector. It provedthat the existing method of collecting data bythe Central Statistical Office does not give

a clear picture of the number of entities active in the creative and culture sectors. This is a resultof the existing registration regulations for newcompanies1and the practice of the CentralStatistical Office of data collection in selected

branches and activities i.e. film industry,publishing houses.

life any easier and results in a reproduction,or production of new definition for the sakeof a single study (which is especially visiblein those commissioned by municipalities andregions). Comparative quantitative data is stilllacking. The Regional Central Statistical Officeis conducting a new pilot research using a newresearch tool based on the methodology ofESSnet-Culture2in Maopolskie Voivodship atthe moment. If successful, the research will berepeated on the national level.

There is no single strategy or action plan atthe national level aiming at developing andstrengthening the creative sector in Poland.

Nevertheless, mainly due to the efforts ofthe Ministry of Culture and National Heritage,the awareness of the social-economic value ofcreative sector has arisen. As a result, the termcreative industries was incorporated intohorizontal strategic documents on the nationallevel. One of the most important examples is

the recognition of the potential and the functions

of creative and culture industries in the NationalDevelopment Strategy 2020 which has beenadopted by the Council of Ministers on 25September 2012. The main objective of this

medium-term strategy is to strengthen and make use of the e conomic, social and institutionalcapabilities in order to ensure rapid andsustainable development of the country,and to improve the quality of life.3Culture isbeing referred to as an important developmentfactor. The document also calls culturethe space for innovation, where a new formof subjectivity, participation, consumptionand creation of values are sought and tested,4

saying that those factors have direct (in the formof cultural and creative industries) and indirectimpact on socio-economic development.

The discussion of the potential of creative sectorhas also resulted in a bottom-up movement.The representatives of creative industry

became more vocal, clear on demands towardsmunicipal authorities and at the same time

put together projects (financed mainly throughEuropean funds) securing the space, trainingand start-up funds not only for themselves butalso for other creative entrepreneurs.

There is also an interest in creativeentrepreneurship expressed by universities,development agencies and other businessbranches and business environmentinstitutions resulting in opening up theiroffer or even creating special actions aimedat creative individuals and companies.

Developers (some of them in crisis due tothe general difficult situation on the market)understood that preferential rents offered tocreative endeavors would result in gainingpopularity of their investments and risingprices in the future.

Incubation is a relatively new endeavor inPoland. Most incubators are attached toeconomic or technical universities or wereestablished as/by business environmentinstitutions. There are also examples ofincubators which started as ones of generalprofile, focused mainly on business innovation,

and later, as the discussion on creativity evolved, opened up to companies representingthe creative sector.

1 When registering a new company, the entrepreneur is asked

to choose a list of statistical categories/numbers called PKD

numbers (Polska Klasyfikacja Dziaalnoci = Polish Classification

of Activity) reflecting future activities and to name the chief

one. Usually, the selected ones are most general.

2 European Statistical System Network on Culture, final report

available at: ec.europa.eu/culture/our-policy-development/

documents/ess-net-report-oct2012.pdf

3 Ministry of Regional Development www.mrr.gov.pl

(www.mrr.gov.pl/english/regional_development/

development_policy/nds_2020/strony/default.aspx)

4 The National Development Strategy 2020

Poland

D for displaying and organizing all kinds of events. A restaurant, a bar as well as a boutique forpresenting and selling the works will also be


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ART_INKUBATOR of FABRYKASZTUKI in D (ARTFACTORY IN D)

www.fabrykasztuki.org

www.artinkubator.com

Art_Inkubator is an interesting example for atleast three reasons: legal form of organization,which established the incubator, source offinancing, and format of functioning.

Art_Inkubator is a project developed by FabrykaSztuki. Fabryka is a cultural institution situatedon the premises of a 19th-century factory inthe Priests Mill (Ksiy Myn). It was createdjointly by d Art Centre, Chorea TheatreAssociation and the City of d Office inJanuary 2007.

Programming of Fabryka Sztuki is mostly focusedon theatre, modern art and art education.

Fabryka regularly organizes educational projectswhich are now a permanent part of the cultural

events calendar in d. It prepares a series oflectures and meetings with artists and leadingexperts on culture and art, as well as seminars

and workshops. It also carries out music projects and concerts. Another vital element of

the activities of Fabryka Sztuki is its involvementin organizing two large international artisticprojects, the first of which is organized byd Art Centre (Fotofestiwal InternationalFestival of Photography in d and dDesign Festival) and the second by Chorea(RETRO/PER/SPECTIVES: CHOREA TheatreFestival ).

The final areas of operation of the Factoryof Art are activities aimed at providing support

for entrepreneurship in culture and developmentof creative industries.

The latest is the reason for interest in the creationof Art_Inkubator. Art_Inkubator investment isco-financed from the Regional Development

Fund1and the City of d. This is wherethe second interesting fact regarding this project

appears: even though conducted by a cultural

institution, it was not financed from an obvious source such as culture, revitalization ortourism but from the financial prioritydedicated to entrepreneurs. Art_Inkubatoris the first project of this kind.

The project consists of two layers: tangible

and intangible, inseparably connected, thereforedeveloping simultaneously. The first layeris the revitalization of three post-industrialbuildings; the second is the construction of theconcept of future functioning of the institution(content-wise).

The revitalization of Fabrykas headquartersand its transformation into Art_Inkubator is

being conducted with great attention to detail most of the historical elements of the buildingare re-polished and secured. Office spaces, co-working spaces, conference rooms, workshopspaces and artistic studios were built.

Art_Inkubator clients will also benefit froma performance hall and three full-sized rooms

p g gestablished.

The third important fact is the open formulaof Art_Inkubator regarding beneficiaries.Art_Inkubator does not limit its offer toentrepreneurs but it serves as a platformfor professionalization of the whole cultureand creative sectors. It will be availablefor companies, NGOs, cultural institutions,individuals (freelancers) for both productionand presentation providing a wide range of

services in relation to gaining business skillsand professionalization.

The space for incubation of ten new businessideas is secured. These will be chosen onthe basis of an open call for proposals

and receive preferential treatment (both in termsof space and services) in comparison to otherArt_Inkubator clients. The estimated time of

incubation is 2 years but in justified circumstances it can be prolonged for another year.

In parallel, works on the on-line Multimediaon Managing Creativity Platform, serving asknowledge base for the whole creative sectorare being conducted. The Platform will alsoserve as a virtual meeting point, providingon-line consultations, coaching, mentoringand networking opportunities.

Art_Inkubator is the first institution of thiskind in Poland dedicated entirely and solelyto those active in creative and culture sectors.

Its revitalization will be finalized by the end of2013 and the building will be ready for futurecreative entrepreneurs to move in.

1 The Creation of Culture Incubator - Art_Inkubator within

The Factory of Art in d (formal title of the project)

received funding from The European Regional Development

Fund within the call for proposals under Priority III.

Economy: Innovation, Entrepreneurship. Measure III: Business

Development within the Regional Operational Programme of

dzkie Voivodship 2007-2013.

Poland

Creative Self-EmployedEuropean Culture Consulting Factory(Publisher of Purpose magazine)

Employed), which covers various aspects ofdoing business in the cultural field and givesexamples of successful good practices.

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(Publisher of Purpose magazine)

www.purpose.com.pl

The projects first phase was realized inthe years 2009-2010 using financing from

European Social Fund. It has three main objectives:

PROMOTING ENTREPRENEURSHIP

AND SELFEMPLOYMENT;

DISSEMINATING GOOD PRACTICES IN THE AREA

OF CULTURE AND CREATIVE BUSINESSES;

ENHANCING THE KNOWLEDGE OF RUNNINGA BUSINESS AND OF THE POSSIBILITIES OF RECEIVING

SUPPORT FOR STARTING AND RUNNING A BUSINESS.

The project has also enhanced knowledgeconcerning creating and operating smallcompanies among people involved in artsand culture, stimulated their participation intraining and counseling projects aiming atstarting a business, promoted cultural sectorand creative industries among trainingand business environment institutions, createdand promoted a database of projects/institutions providing grants and supportin starting a business.

There were two main target groups ofthe Creative Self-Employed: people involvedin culture and arts both professionals

and amateurs (employees of cultural institutionsand people without such employment)and business environment institutions

(employees of training and counseling institutions,incubators etc.; people who make decisionsconcerning providing grants and selectingtraining and counseling participants).

Activities undertaken within the project made

them more aware of their potential in the creativesector and gave them the knowledgeand toolsto help them start their own business as wellas make better use of their creative potential.

One of the outputs of the project has beenthe publication of a book (The Creative Self-

An internet guide has been set up to disseminatepractical advice and a step-by-step guide onsetting up a business, and to promotethe experience of successful artistic

entrepreneurs who have become self-sufficient.

The web portal created within the projectconsisted of:

ENTREPRENEURSHIP AND SELFEMPLOYMENT GUIDE

ADVICE, USEFUL INFORMATION, ADDRESSES ETC.;

EXAMPLES OF GOOD PRACTICE FROM SUCCESSFUL

PEOPLE WHO STARTED COMPANIES IN THE CREATIVESECTOR VIDEOS, INTERVIEWS, PHOTOS;

DATABASE OF ENTITIES PROVIDING GRANTS;

NEWS FROM THE TRAINING MARKET, COUNSELING

AND UPTODATE INFORMATION CONCERNING

THE POSSIBILITIES OF RECEIVING GRANTS.

The knowledge database at the website ofCreative self-employed project has beenused by 4500 people, 500 people receivedthe publication; 40 institutions participated increative sector consultations and 24 firmswere presented as examples of good practice.

In the year 2011 the project was extended intoits second stage as a commission from the Cityof Lodz (in Poland), which started introducingits strategy as a Creative City in that year. In2011 it was a weekly published newsletter; in2012 it was published on a bi-weekly basis. It ispublished online as well as in a downloadablePDF version. Plus in addition to that it is beingsent to the database of registered users as

an e-mail newsletter. Each issue of the Newsletter

presents good practice examples from the city of

Lodz, interviews with professionals and officialsdealing with creative sector in the city and fivedescriptions of good practices in developingcities and culture from around the world.

Creative Self-Employed received Main Prizein Good Practice ESF competition organizedby the Ministry of Regional Development.

STARTER Gdask BusinessIncubatorThe Gdask EntrepreneursFoundation (Gdaska FundacjaPrzedsibiorczoci)

www.inkubatorstarter.pl

www.gfp.com.pl

Gdask Business Incubator STARTER is run bythe Gdask Entrepreneurs Foundation (GEF).GEF is a non- governmental organisationfounded by the Gdask City Council. Over

the years, GEF became one of the most importantinstruments supporting SMEs in Gdask. Withthe opening of a new building in January 2012,headquarters of STARTER Business Incubator,gained interest in creative and ICT companies.

STARTER helps startups through minimizingtheir running costs, supporting them inestablishing business relations and helpingthem achieve their full potential.

STARTER provides a wide range of services.

First, it rents out offices and conference spaces,offering for rent both single desks in the open

space and office space with diverse areas (sized

from 25 to 2155 square meters). The total spaceof the building is over 11,2 thousand squaremeters. Currently, in the Incubator part ofthe building, 35 new businesses have a chanceto make their first steps in business. Amongincubated companies are those dealing withe.g. mobile widgets for fashion, social mediabrand monitoring tools, highly efficient

distributed applications, modern web applicationsand advanced information systems based onartificial intelligence technology, a modulardesign studio and a branding agency.

There is also a virtual office for those who onlyneed an address.

STARTER also offers access to training rooms,rooms for business meetings, consultationswith experts in law, mar keting, accountancy,creating business plans and acquisition fundsfor carrying out economic activity, mentoringprogrammes as well as stationary and on-linetrainings.

GEF runs number of projects organized into

three main theme groups: STARTER PLAY,STARTER GO, STARTER UP.

Entrepreneurship in Creative Sectors

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The first one is an adventure with businessactivity. Activities undertaken under thisproject line stimulate creativity and curiosityof children and teenagers by means ofentertainment and business games.

STARTER GO is for those thinking about theirown company. It gives an opportunity to getinspired by the best ones, gain the knowledgeand contacts, and also helps with developingnew business ideas.

STARTER UP aims at the development ofexisting companies. Projects under this themehelp in conquering the international marketand look for new investors.

Gdask Incubators proved to be very successful

in organising networking meetings and trainings in various fields related to different a spects ofeconomic activity.

Practice proves that sometimes securingthe space is not the most important factor of

succeeding in creative sector. Equally importantis the competence of future entrepreneurs

equipping them in knowledge and skills neededto start an independent company. Therefore,two examples are given here to illustrate bestpractice.

Entrepreneurship in Creative SectorsKomiski University

http://kreatywni.waw.pl

Entrepreneurship in Creative Sectors is a projectcombining hard work in an artistic frame. Itsinitiator is the Komiski University, one ofthe best business schools in Poland. Usingthe experience based on previous projects

and its business experience, this time Komiski

Univeristy focused on the creative se ctor.

The participants of Entrepreneurship inCreative Sectors were chosen in three stages.First one was the open call resulting in over750 submitted applications, from which 180people were selected and qualified tothe second stage.

In the final recruitment phase 130 people wereselected.

All participants received 300 hours of training

mainly in business, networking, marketing and law.

From 130 participants, 80 best business ideasreceived grants of 10.000 euro and 350 euroof monthly financing for half a year. In additionto financial support, another 2000 hours oftraining, mentoring, coaching and consultingwere granted.

The support was tailor-made as participantswere choosing the topics they wished to gainmore knowledge in themselves.

What distinguishes the project from othersare the people who prove on a daily basis thattrainings, consulting and received grants are

only effective when people are truly passionate, says the project co- coordinatorPiotr Kaczmarek-Kurczak.

Czech


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Creative industriesmust move

from the marginsto the mainstream

of economicand policy thinking

Creative Britain - New Talents for the New Economy (2008)

45

CzechRepub

Incubators in the Czech Republic

The boom of business incubators can be seenafter the accession of the Czech Republic to

and creative industries conducted by the Artsand Theatre Institute, an organization ofthe Ministry of Culture. The recognition of

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blicthe EU in the last ten years, when they are

being supported to a greater extent also formthe EU Structural Funds. Currently we couldfind dozens of business incubators acrossthe Czech Republic. The State investment

and business development agency of the CzechRepublic defines the business incubator asfollows:

The incubation of firms is another possibility

for supporting the establishment

and development of innovative businesses,

particularly small and medium-sized enterprises.

It is an important factor in the development of

the business environment innovation networks

among universities, research institutes

and independent enterprises. In order for

a new firm to be able to enter and, especially,

maintain its position on the market, it needs

more than just a good idea with market potential.

Such a firm must obtain quality facilities

and background for conducting business, as

well as support in the areas of marketing,

consulting, accounting, taxes etc.

and the financial resources to support its

innovative ideas. All of these aspects are provided

to the given firm by a business incubator, which

focuses on supporting innovative start-up

companies whose main goal is to develop

new products, technologies and services,

and subsequently introduce them to the market.

Currently, interesting technological innovations

as well as innovative business ideas and servicesare supported and the Czech government isfocusing on the support of more intensiveand effective linkage between the fields of

research and business.

The concept of creative industries has graduallybeen becoming more visible since the projectSocio-economic potential of cultural,respectively creative industries in the Czech

Republic started in 2007. The project thentransformed to an official mapping of culture

is increasing at the political as well as the socialand cultural levels.

As evidence shows, there have been severaltop-down initiatives which attempt to set upcreative centres or incubators in their cities,and so far several bottom-up initiatives whichhave started running co-working spaces

and venues where people from different sectors

can meet, inspire each other and create together in convenient conditions.

Nevertheless, linkage between businessand creative sectors is still weak, thus it isdesirable to set the conditions and hope fora successful merging of these two worlds.

The following cases are notable examples forCzech environment, all providing support,physically and intellectually, to creative peopleand helping them to become sustainable inthe business world.

CzechRepubl

After its reconstruction, the incubator consistsof a variable space with movable walls, creating7 smaller spaces (cca 40 sq meters each -equipped with desks and chairs) connectedb l h d (l


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Prague HUB

http://prague.the-hub.net

Prague HUB is a Czech part of THE HUBnetwork, which started in 2005 in Londonand now, in 2013, it has opened over 50more HUBs with more than 5 000 memberson 5 continents. The mission is formulatedvery openly: At the HUB, people from everyprofession, background and culture are being

united by one thing: the imagination and drive

to pursue enterprising ideas for the world.

These are the people who see and do things

differently and have entrepreneurial passion

to create sustainable impact.

Prague HUB was founded in 2010 after almostone year of preparations by Petr Vtek, ZdenkRudolsk, Jakub Mare and Petr Bae (bottom-up principle). Some of these personalities have

their background in business (SUN Microsystems,PriceWaterhouseCooper), some in the non-profit sectors of culture or human rights(Amnesty International). This mixture seemsto be substantial for a further developmentof the Prague HUB and its activities. Ona long-term basis, Prague HUB focuses mainlyon the development of socially responsible

entrepreneurship and social innovation, butit also allows people from various other areas

to participate. One of the objectives of Prague

HUB is to interconnect these people to catalyzetheir creativity leading to the development ofnew successful projects.

Prague HUB is located on the premises ofan old refurbished printing house. It has 3 main

sections the main space (open space + lounge+ bar + conference room), a conference room(+ separate bar) and second floor (more openspace + chill out lounge). The reconstructionof the space has been conducted with the aimto create a creative HUB, so it offers airy

and open atmosphere encouraging interactionand sharing in the entire space.

Plenty of services are offered to HUB members,e.g. as organizing events such as the series

Mashup HUB, HUB Future and HUB Create or the competition called Social Impact Award.

HUB offers workspace rental, provides targetedand informal networking, organizes seminars,lectures, workshops and talks, provides expertadvice, gets investors on board, and connectsto a worldwide network of HUBs.

The legal form of the HUB is limited company.Most of its financing comes from its membersand its tenants/renters. HUB does not receive

any public funding.

Pedlice Incubator

http://www.inkubatorpredlice.cz/

Incubator Pedlice is a regional project withinternational outreach focused onthe development of applied art and design inthe region of st nad Labem. It is based inthe first floor of former North Bohemian fittingproduction factory. This project is substantiallyconnected with the environment of the Facultyof Art and Design of the Jan Evangelista

Purkyn University in st nad Labem.The cooperation with experienced teachersfrom the faculty and consultation with themis the vital basis for the connection ofthe incubator to academic environment.In fact, the original idea was conceived bythe universitys students (inspired by in-schoolincubator in Scandinavia) and has beenimplemented since 2012. From August toOctober 2012 the industrial space of fittingproduction factory has been refurbished bystudents (both the architecture of the spaceand even some of the building work havebeen carried out by students). The furnitureand equipment was provided by corporatesponsors connected to the university (mainly

product and interior design - Ton, Preciosa,Crystalex, esk porceln).

by a large space with diverse use (lectures,concerts, performances etc.) with a capacityof up to 200 people. There are also twoexhibition spaces on the second floor ofthe complex.

The operation of PedliceIncubator is composed oftwo parts:

1. The Incubator is an interdisciplinary studiothat participates in commissions arisingfrom the university (e.g. graphic design ofpublications, photographic documentationof university events o, design of promotionalmaterials), and also in commissions comingfrom outside. The incubator will offer working

placements for advanced students of the Facultyof Art and Design, Jan Evangelista PurkynUniversity in st nad Labem and its recent

graduates, always for a limited period of time only.

2. SPACE is a shared space for organizingaccompanying events : lectures, workshops,exhibitions, fashion shows, concerts, aimingat the presentation of high-quality designand thus cultivation of both: design

and business community, and the general public.

CzechRepubli

Meetfactory

www.meetfactory.cz

MeetFactory was founded in 2001 by the artist

is the condition and the guarantee of a functional

long-term cooperation with various internationalpartners. The courage to experiment in allart fields provides for the creation of newinternational creative teams In the long term


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icMeetFactory was founded in 2001 by the artist

David ern. Its purpose is to support and developcontemporary art and culture and to make itaccessible to the public. MeetFactory is unique

in its attempt to connect art, theatre, film, musicand educational programmes. It also providesits facilities to its resident artists, who comefrom all around the world, thereby connectingthe domestic and international art scenes.

In the context of Prague, MeetFactory isa unique interdisciplinary institution thatconnects individual dramaturgic lines fromthe fields of fine arts, theatre, music and otherareas with the background of a residentialprogram. Generally, 6 to8 performances areheld per month in the music hall, which isfitted with high-end audio equipment.The theatre programme is focused onthe political dimension of the theatreand the role of technology.

There are three galleries in the MeetFactorybuilding: the national and international art

scenes are given space for critical confrontationin the main MeetFactory Gallery, Cube Galleryis designed for short-term exhibitions of less-

known artists, and the Wall Gallery is usedfor experimental exhibitions of drawingsand paintings, ranging towards and includingclassical graffiti.

Finally, it is necessary to mentionthe international residency programme in whichMeetFactory hosts contemporary artists:artists, musicians but also writers, who presenttheir work to the public via the regular event ofOpen Studios, which takes place approximatelyonce a month. MeetFactory also has a caf,

and in summer there is a garden with a barbecue.

The unique complex represents 5000m2 ofmultifunctional studios, ateliers, and halls filled

with a creative symbiosis of artists active invarious fields. The good quality of the programme

international creative teams. In the long term,the exhibition programme focuses onthe presentation of Czech and international

contemporary art. It uses a specific and variableexhibition space that by its character and sizehas no competitors amongst Prague galleries.About 300 public presentations are visited by

about 30,000 people per year. Atelier utilizationis almost always 100%.

It is funded by various public funds, bothnational and international (e.g. City of Prague,

Czech Ministry of Culture, International Visegrad Fund, Deutsch-Tschechische Zukunftsfonds,Mondriaan Funds etc.), but also by privateindustrial and corporate partners (CEZ G roup,Metrostav, Hilti, Budvar, RedBull).

Creative Gate

www.creativegate.cz

Creative Gate is another independent mutationof The HUB idea. Spaces open for co-working,networking, sharing of experience

and development of new entrepreneurial projects.The functioning is based on the rental of working

premises, sharing of equipment and technology,targeted and informal networkingand organization of inspiring events such asseminars, lectures, discussions, talks etc.

In comparison to The HUB there is no

connection to a worldwide network with common online sharing and communication tools. Evenmore, the founders of Creative Gate emphasize

that they value personal meetings and sharing

of experience more than on-line networking with

the philosophy stating: We want to live off-line.

The Lower VTKOVICE

www.dolnioblastvitkovice.cz

The extremely large-scale project ofrevitalization of an enormous industrial areain Ostrava is a rare example of public-privatepartnership in the field of culture. It has arisenfrom a bid of Ostrava for European Capitalof Culture 2015 (Pilsen was the winner in

the end). A private owner, the joint-stock companyVitkovice entered into partnership withthe City of Ostrava and started planninga revitalization of former blast furnaces areaof the Lower Vtkovice. Association of LegalEntities The Lower V TKOVICE, consistedof three private companies and the TechnicalUniversity of Ostrava with importantpublicpartners the Moravian-Silesian Region,the City of Ostrava and the National HeritageInstitute.

CzechRepublic

It has been established to transform largebrownfields into educational and culturalcentre. Besides building a science museumand making the area of Vtkovice (NationalCultural Heritage label) and Mining Museum

Creative Centre Brno

http://www.kreativnibrno.cz/

Brno, as the second largest city in the Czech


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cg ) gaccessible to the public, a former gas containerwas transformed into a large multi-purposeGONG Auditorium hall with a capacity of 1500visitors. The auditorium is supplemented withconference facilities, foyer and a gallery.

Costs related to transformation of the siteand its maintenance (educational purposes)have been covered from European StructuralFunds (95%). This affects an overall utilizationof the site - 70% has been used for educationalpurposes and 30% for commercial uses

(conferences, concerts, exhibitions, guided tours).

As a natural extension of those largeinvestments, there is a plan to build a CreativeCluster in the industrial heritage Mine Hlubina,which is part of the Lower Vtkovice area.The revitalization of the former bathhouses forminers is supervised by the civic associationHlsm se k tovrn (I support the factory),which has been organizing cultural activitiesand various events in the Mine Hlubina since

2009. The creative quarter intends to run in three shift operations (in reference to the mining daycycle). The morning shift focuses on education,

the afternoon shift on leisure and the nightshift is dedicated to shows and concerts.The project is funded by Structural Funds asrestoration of a cultural heritage site. Fulloperation start is planned for 2015.

, g y

Republic with an established tradition of culturenaturally has large creative potential. This hasbeen recognized by the municipality of Brno,which has developed a strategy a nd specific

projects to support creative industries in the city.

One of the projects in this line is the revitalization

of the building complex of a former penitentiaryinto Creative Centre Brno to support creativeindustries entrepreneurs, the creative NGOsector, culture-educational activities forthe public and other activities. The centre willoffer facilities for architects, designers, artists,fashion designers, musicians but also forthe designers of computer games, people fromthe advertising and publishing industry etc.Part of the vision are also rental studios, e.g.for graduates of art schools and universities.Other common areas would be filled by

a theatre hall, galleries, premises for educationalactivities, a caf, shops and accommodation forstudents and artists.

An incubator for new entrepreneurs increative industries is planned to be placed inthe Creative Centre Brno. Apart from

the development of the creative potential oftalented people and prevention of braindrain, the aim of the project is also to makethe unattractive area more open and moredesirable for the general public and thusenabling the revitalization of this troubledpart of the city which is often nicknamedthe Bronx of Brno.

The project of Creative Centre is part ofthe Integrated Urban Development Plan, ofthe Regional Innovation Strategy of SouthMoravian Region 3 and the Conception ofEconomic Development of the city of Br no.The possible legal status and operator ofthe centre will be defined by a feasibility study

which is under preparation.

Svtovar 4x4 Cultural Factory

The City of Pilsen is going to hold the titleof European Capital of Culture in 2015. Partof the development connected to the title is

The total costs have been evaluated as CZK100 million ( 3.9 million) and will be coveredby EU Structural Funds. The model of runningthe centre is based on a maximum cooperationwithin the user network, operational


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dedicated to unlocking the creative potentialin the city and region.

The largest investment project of Pilsen 2015is 4x4 Svtovar Cultural Factory project.The project uses two heritage listed sites ofthe former Svtovar Brewery for a culturalcentre serving the independent artistic sceneof Pilsen and the surrounding region as a basefor presentations and also as a place for

creating and presenting the works of renownedCzech and foreign artists. The building complexwill also be a place for artists-in-residence,creative workshops, courses and will includespatial conditions for a creative incubator.

The project is divided into two buildings. Inthe former fermenting room, cellars and filling

room four halls for cultural productions (concerts, theatre performances, dance performances,exhibitions and new media) will be located.

The second building will be turned intoa creative incubator, rehearsal rooms, studios,ateliers and accommodation premises.

The creative incubator is going to be run incooperation with the Institute of Artand Design in Pilsen. The aim is to supportthe creative potential of promising newcompanies and individuals and retain theirperformance in the region.

Two phases of incubation are envisaged.The first phase is open to public in order toenlarge the entrepreneurial knowledge base

and is mainly designed for university graduates.The second phase is selective and focuseson the development of new initiatives andcompanies. The intention is to provide thesewith spaces for work and creation, meet

the technical requirements, increase the knowledge

base, offer consultancy and promotion.

and production responsibility, and programmeand space openness. The operational mode ofthe centre remains under question, however,it is intended to be designed in collaborationwith local artists and representatives of NGOsinterested to join. The opening is planned forthe end of 2014.

Conclusions

Conclusions

The main challenge for the creative sectoritself, as well as for incubation services as partof the progressive and innovative creativebusiness culture is still the almost total lackof specific policies on all levels, as well as a lowl l f d t di f th t ti l f

OPERATE AS A NONPROFIT ORGANISATION OR

AS A NONPROFIT BRANCH OF THE ORGANISATION;

THEREFORE THE STAY IS EITHER FREE OF CHARGE OR

TENANTS SHARE ONLY THE UTILITY COSTS.

TWO FURTHER SUBGROUPS CAN BE DISTINGUISHED

ACCORDING TO BASIC DRIVESSituation of


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Territorry

As the previous pages show, creativeincubators in the countries in question havevarious forms and operational modes. Thereis a clear tendency towards the bot

V4 Creative Incubators

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