觀光發展與藝品店空間區位關係研究──以花蓮縣為例

A Study on the Relationship Between Tourism Development and the Spatial Location of Art Stores: The case of Hualien County

本文觀察到地方、文化、觀光、經濟彼此間，存在不易凝聚的問題，藉由聚焦花蓮藝品店數量規模與分布異常的急速擴張與消退現象，透過闡述觀光為花蓮帶來的遊客量，與藝品市場供需關係變化面向研究，討論營運規模與市場區位的空間分布相關性，最後運用區位商數LQ，分析三種不同空間分布地的商店營運，剖析不同生產與供應鏈的競爭取向與平衡。發現，不同時期進入與減少的觀光客群差異背景，引導藝品店的生產規模與市場分布，差異導向的市場不同，面對觀光衝擊因素的結果亦不同。不同的觀光人口差異消費因子需求，刺激產品的生產結構、銷售與特定供應轉向。當特定消費市場新型態藝品的產業鏈結，隨著主要消費結構消失，面臨只有生產而無消費的經濟體生產過剩，導致短短不到幾年期間呈現泡沫化現象，特定規模與市場分布的藝品店迅速消失。相關單位、生產者與支援供應者需重新思考，應以合乎市場完善歷程的生產與交換互利觀點，需對應Crang（1997）所提觀光消費形式等，既是文化性又是經濟性的彼此完美結合。

This paper observes that there are hard-to-resolve problems between location, culture, tourism, and economy. By focusing on the rapid expansion and decling of the abnormal distribution of the number and scale of Hualien art stores, and through the study of the number of tourists brought to Hualien for sightseeing purposes and the change of the supply-demand relationship of the art market, this paper discusses the correlation between the operation scale and the spatial distribution of market locations and finally analyzes the operation scale of stores in three different spatial distribution places by using the location quotient (LQ) to analyze the operating scale of the stores in three different spatially distributed stores, and analyze the competitive orientation and balance of different production and supply chains. It is found that the flow of tourists has provided the main consumer market of the art industry by a large margin, and the different backgrounds of tourist groups have led to the production scale and market distribution of art stores. The results of tourism impact factors are also dissimilar in differently oriented markets. Different tourist populations have different consumption factor demands, which stimulate the production structure, sales, and supply of products. When the industrial chain of new art products in a specific consumer market disappears along with the main consumption structure, it faces overproduction with only production remaining and no consumption. Overproduction in economies with no consumption has led to a bubble phenomenon in very few years, and art shops with specific scales and market distributions have quickly disappeared. Relevant units, producers, and support providers need to rethink their approaches. They should adopt a mutually beneficial viewpoint of production and exchange in line with the market`s improvement. Over-expansion of the market should be avoided, and consumption should correspond to the forms of tourism consumption mentioned in Crang (1997), which are ideal combinations of cultural and economic aspects.