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The paper aims to explore to what extent policy makers can create a “creative city”, that is, an urban environment capable of generating creativity, innovation and thus economic growth.

The paper is set up as an interview with Richard Florida and his mentor Jane Jacobs, two of today's most famous specialists on urban development.

The main conclusion from the double interview is that a creative city cannot be built from scratch; however, both Florida and Jacobs argue that it is still possible to build for the creative city.

The paper documents the viewpoints of just two urban specialists whose original views, however, have influenced and will influence the debate on creative cities.

The interviewees in this paper offer illuminating insights and practical clues for policy makers wanting to contribute to the development of a creative city.

This is the first double interview with Florida and Jacobs offering policy advice in the field of creative cities. The paper also shows that the views of both authors are complementary.

The paper aims to examine the role of creative industries in general and the film industry in particular for place‐making, spatial development, tourism, and the formation of creative cities.

The article reveals the preliminary findings of two case studies from Beyoglu, Istanbul, and Soho, London.

The research found a relation between place and creativity and the positive contribution to creativity of being in a city center. Among the creative industries, the film industry plays an important role in the economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require.

The paper raises interesting questions about the importance of place to creativity, also questioning whether creative industries can be a driver for regeneration.

This paper aims to investigate the European and Latin America urban cultural policies that could enhance cultural and creative sustainable tourism products development.

The methodological framework is based on a comparative case study regarding the importance, dynamics and policies associated to cultural and creative tourism in four Ibero-American cities, namely, Brasilia, Buenos Aires, Lisbon and Madrid.

This exploratory analysis underlines the growing importance of cultural and creative tourism in the four capital cities. On one hand, cities reveal different tourism impacts and, on the other hand, they are associated to different cultural and creative sector structures. Cities cultural and creative performance put in evidence that sustainable cities index, global talent competitiveness index and cultural and creative cities monitor, tend to position Madrid in the first place followed by, Lisbon, Buenos Aires and Brasilia.

In general, and despite the importance of space in the creative process, there is little research on the geography of the creative industries and there is a lack of cross-country comparative studies so that it is difficult to assess the particularities of each model of creativity.

Cities could enhance more efforts in investing, not only in the traditional cultural infrastructures but also on the new forms of culture, new technologies, new makers, new audiences based on their attributes, activities and labels, in a framework of urban sustainable policies based on “innovation,” “inclusiveness” and “interconnectivity.”

The originality of the paper lies in the comparative analysis of four cities based on cultural and creative sector and tourism interconnections. Simultaneously, it lies in an exploratory model application.

The purpose of this paper is to explore the creative city discourse expanding on current tangible and intangible strategies, by integrating recent placemaking tactics to develop a multidimensional framework for designing creative places.

The methodology is based on a framework analysis and critical meta-review of current research on creative city and placemaking.

The findings show that there are three additional factors related to placemaking tactics in the established literature: institutional factors, human factor and arts and design factor emerging from the intersection of creative city and placemaking frameworks.

The findings of this study can inform a more holistic approach to placemaking in creative cities in both theory and practice, namely, a multidimensional place management framework for creative environments of today.

This paper contributes to the current trends in creative city and the development of placemaking guidelines. It provides a simplified view of an exhaustive list of existing literature.

In the seemingly perpetual battle among cities to secure economic growth, one strategy has gained increasing credence of late: luring the Creative Class. The argument, promulgated by Professor of Economic Development Richard Florida (2002a, pp. 4–5), suggests that human creativity is now the “decisive source of competitive advantage” and cities can thrive by tapping and harnessing such creativity. The primary ingredients in this sweeping recipe for urban success are a group of young, mobile, diverse, ‘creative’ professionals, who constitute a social class of their own, according to Florida's popular book, The Rise of the Creative Class (2002). This Creative Class – if cities can attract and retain it – operates as its own economic machine, producing jobs, enhancing productivity, and increasing the overall well being of the city, Florida argues. From an urban economic development perspective, the role of the city is to create the conditions in which this Creative Class and associated industries can flourish.

With the increasing number of creative cities as well as the reported incidences of deterioration to physical heritage, this paper aims to protect silent identities of heritage from the ruining living identities of modern generations in current and futuristic creative cities.

The research aim is achieved through trait-related mixed methods, since the variances are not method-related, to answer three research questions. The first method was a survey questionnaire distributed to the creative architectural sector because it was the best sector to meet the identified criteria. It aimed to answer if the upperground layer in creative cities considers the underground layer's diversity as a main cause for heritage deterioration and for being a barrier to developing creative solutions. A hypothesis for the first question was tested through a t-test. The second method was to study cases of heritage in present and futuristic creative cities to answer if living identities threaten physical heritage of all ages at the same extent and if the same creativity concepts are applied to all heritage.

The underground layer's diversity identities were found as a major barrier to the creative architectural sector. The R-value indicated a negative relationship between heritage age and its condition. Cases witnessed different creative expressions, but cases within the same period faced similar concepts of expressed creativity. The proposed tree diagram is a framework that gives numerical guidelines for the interrelationship between every heritage age and creativity concept for novel and conscious creative practices at the upperground layer to solve the conflicts in creative cities.

The selection of Egypt does not possess a limitation because methodological considerations required for generalising the findings to a broader area were met. Findings in this paper are applicable to all upperground creative sectors that seek to understand the underground layer's diversity. Results are useful for protecting heritage silent identities in all existing and futuristic creative cities in countries that have heritage, of any age, facing deterioration.

The research work in this paper is novel in thought and resolves a perpetual conflict between silent identities and expressive living identities in current and futuristic creative cities through the proposed numerical framework for the upperground creative layer to develop novel conscious solutions. This framework represents a novel synthesis that adds to the existing body of knowledge, as it resolves a critical problem highlighted in previous research studies.

The purpose of this article is to investigate the engineering of creative urban regions through knowledge‐based urban development. In recent years city administrators realised the importance of engineering and orchestrating knowledge city formation through visioning and planning for economic, socio‐cultural and physical development. For that purpose a new development paradigm of “knowledge‐based urban development” is formed, and quickly finds implementation ground in many parts of the globe.

The paper reviews the literature and examines global best practice experiences in order to determine how cities are engineering their creative urban regions so as to establish a base for knowledge city formation.

The paper sheds light on the different development approaches for creative urban regions, and concludes with recommendations for urban administrations planning for knowledge‐based development of creative urban regions.

The paper provides invaluable insights and discussion on the vital role of planning for knowledge‐based urban development of creative urban regions.

The purpose of this editorial is to introduce the special issue on creative cities and cultural spaces, as offering new perspectives for tourism.

The paper identifies some key concerns that cities currently face and introduces the articles in the special issue, remarking on the novel ideas and concepts provided in these papers.

Creative tactics may provide an alternative to cultural regeneration strategies, and increase the capability of cities to distinguish themselves from other competing places.

The paper identifies key concepts that are further discussed in the articles included in this special issue on “creative cities and cultural spaces: new perspectives for tourism”.

Bandung city had constructed new facilities in urban areas or supplemented existing facilities to create a city branding of music-design-culinary. This paper aims to assess their potential as new tourist areas for urban. This study very little research explicitly to discuss new phenomena tourism from urban areas that raise the image of three branding concepts at once.

Qualitative research more emphasized meaning and process analysis. Data analysis was carried out by looking at the status of an urban community, an object and a set of conditions in the thought system or current cases. The supporting data analysis technique used in this research is spatial analysis overlay is one of the basic ways to create spatial relationships between music, design and culinary by processing the result SWOT analysis factor.

Three forms of brand imaging development can ultimately lift new changes in strengthening relationships for building a good image of the tourism city with visitors.

For developing a new branding that can be implemented, the actors necessary to identify and assess internal and external factors policy for further formulation development of tourism city strategy. These articles very few research to explore discuss new phenomena in urban tourism that raise the image of three branding concepts at once. The present work was a modest effort to fill this gap literature with uses a compilation of research findings separately from city branding in various cities used as a conceptual basis and a comparative analysis is then conducted of three schemes.

Purpose – The purpose of this research is to describe the Denpasar Festival event as a city branding program of Denpasar city. Through the Denpasar Festival event, we also want to give an idea of the city of Denpasar as a creative city.

Design/Methodology/Approach – This study uses a qualitative method. The data were obtained based on observations and interviews of the people involved in the Denpasar Festival Event. In addition, researchers also conducted data collection through the official website of the Denpasar city government.

Findings – In carrying out city branding of Denpasar city, the government routinely carries out the annual activities of Denpasar Festival. Denpasar Festival is a show of creative culture creativity of the people of Denpasar city, which is more inclusive in which people can enjoy and actively participate in displaying the results of their superior creations.

Originality/Value – Denpasar Festival Event can affect the city branding Denpasar city so that it can be used as an effective way in increasing public knowledge of city branding Bandung. Therefore, the event should be Denpasar Festival or other events to be maintained and even improved quality and quantity in every other event in the city of Denpasar.