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The purpose of this paper is to explore and clarify the relationship between creative developments and the concepts of place and placemaking.

This paper systematically reviews scholarly literature on the relationship between creative developments and the concepts of place, and critically analyzes the extent to which creative developments acknowledge different aspects of place.

The findings demonstrate that the relationship between creative development and place is multifaceted, and combines physical, cultural and social aspects of place. However, the literature also calls for the greater valuation of particular facets of place, including the daily experiences of communities and local cultural producers, alongside symbolic and imagined aspects of place, all of which inform either positive or negative perceptions of urban form. In addition, the authors argue that the cultural value of the creative industries needs to be better acknowledged in creative developments, implying support for a range of cultural practitioners.

The authors argue that embracing a more holistic understanding of place in creative development has the potential to minimize the negative impacts sometimes associated with such developments (like gentrification and social displacement) while generating greater social and cultural benefits to people and place. The study findings raise questions that frame a critical research agenda for creative-led developments and creative placemaking in this context.

By examining the broader relationship between creative developments and place and identifying areas neglected by researchers, this research contributes to an articulation of “creative placemaking” that moves creative city policy toward enhancing community development.

The concept of a creative place has been considered by experts, but a review of the research background shows that the definitions provided for creative place are different, and the factors that make an urban space a creative place are not clear. The main purpose of this study is to investigate the concept of creative place and to extract the indicators that make an urban space considered a creative place.

By extensive library studies and using a specialized panel, 59 items in the form of 12 indicators were extracted as identifiers of a creative place and a researcher-made questionnaire was prepared and tested in a case study. Data analysis of this study was performed in two stages by using the factor analysis method in R software.

The factors of “competitive advantage (economically)”, “freedom”, “attractiveness”, “entrepreneurship and professionalism”, “culture and art”, “vitality”, “diversity”, “distinction”, “participation”, “reconstruction, nobility and infrastructure”, “meaning” and “creative experiences” are important as identifiers of creative place, respectively. The evaluation of the case study showed that the total score of creative places in this urban space is 69.6 (out of 100) and “meaning” gained the most point in this urban space.

The factors of this research can be provided to architects and urban planners as identifiers of a creative place and a case study can be evaluated in terms of the degree of compliance with creative place identifiers.

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.

Drawing from resource-based theorising, the concept of network embeddedness and a process perspective on entrepreneurship, this paper establishes a conceptual framework to explain a multi-level and multi-locational network embeddedness of creative entrepreneurs in non-urban places. It challenges stylised facts about creative entrepreneurship as a predominantly urban phenomenon.

Based upon the conceptual framework for creative entrepreneurship in a non-urban place, an illustrative case study of small-scale creative-design entrepreneurs on the Lofoten Islands in Norway (2019) is utilised to discuss the framework.

The conceptual paper derives a fine-grained understanding about how creative entrepreneurship emerges and develops in non-urban places and contributes to a better understanding of how such places can nurture such entrepreneurship through multiple network embeddedness and resource-exchange configurations.

The article will enable further empirical research that tests, validates and, if necessary, refines the framework established.

Creative entrepreneurs should use various resource-exchange combinations with diverse networks to become locally embedded in non-urban places. Public-policy managers need to be aware of this variety that may exist with the network embeddedness of such entrepreneurs to support them and develop the location through resource provisions.

The paper uses an original conceptual framework.

An increasing effort to reinforce cultural and social activities in creative placemaking is observed. Despite extensive previous studies, works of literature ignored the necessary group-specific indicators and processes in creative placemaking. In successful placemaking, the vital attributes of a place as a social platform should be identified and intensified in the initiatives taken. As such, this study aims to examine the functions of urban design social attributes in generating meaningful creative placemaking initiatives.

A survey was performed, which involved 340 visitors in the inner city of Kuala Lumpur, Malaysia, from one case study (a strategic social event initiative called RIUH) on users’ preference toward the social attributes of place and the factors influencing preference. Field observations were carried out to understand the social activities and pattern of engagement.

The preference study revealed that urban design social attributes encompassed the essential inclusiveness, value, diversity and vitality of place because of high preference and a significant difference among groups.

Understanding users’ preferences has emphasized the relevance of each urban design social attribute in accommodating different user opportunity groups, ultimately inducing a positive social impact in creative placemaking.

This study demonstrated the success of creative placemaking in urban development from the social dimension. It provides an understanding that the priority of creative practices should be redirected toward a more in-depth approach in addressing individuals, social capacity, involvement and well-being through the optimization of benefits and other creative placemaking values.

This paper discusses the notion of authenticity and the role of local creatives in the place branding process based on a case study of Mtns Made, a brand for the creative industries in the Blue Mountains of Sydney, Australia. This paper aims to examine the development, implementation and management of a place brand from the ground-up and explore the implications for a situated place branding practice.

The concept of brand culture was used as a theoretical lens to view place branding. A qualitative case study approach was taken, incorporating the collection of primary and secondary documents, observation of online platforms and real-world events, field notes and personal reflection from an insider position.

The findings of this study suggest that local creatives can and have played a central role in place branding. The study also illustrates a model for place branding that centres on stakeholder participation in an ongoing process.

Local culture and creativity are largely viewed as assets for place branding; this paper draws attention to the agency of local creatives in the place branding process. This study offers three pillars of place brand authenticity and establishes a framework for place brand analysis based on a branding design strategy.

When researching the role of microentrepreneurship in equitable and sustainable development, the question of how tourism microentrepreneurs forge relationships between place, community, and resources is significant. Two case studies from CREATOUR, a project investigating creative tourism, a novel type of cultural tourism that includes active participation in creative activities and connection to place, examines how these relationships are developed and implemented. Findings indicate that creative tourism microentrepreneurial activities in two small cities are being shaped by, and shaping, place in multifaceted ways. Creative tourism activities stimulate new perspectives on place, are designed synergistically with the “seasonal” fluctuations of the type of visitors, are embedded in personal networks of collaborators, and actively encourage alternative patterns of tourism consumption.

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.

The inscription of Yazd historical fabric in United Nations Educational, Scientific and Cultural Organization (UNESCO) world heritage list has provided the city with the opportunity of international competence and to achieve a global identity. Fahadan is one of the nine historical quarters and the core of formation of the Yazd city. Fahadan is one of the nine historical quarters and the core of formation of Yazd city. The article intends to provide suitable policies for converting it into a sample creative quarter in Yazd historical fabric.

The article benefits from qualitative research and the strategic planning method based on a creative city approach, uses SWOT technique (a technique for finding an organization's strengths, weaknesses, opportunities and threats) for situation analysis and the Oregon model for visioning.

Two categories of hard and soft factors play a role in transitioning Fahadan quarter into a creative quarter. By expanding the scope of jobs related to jewelry, and creating its supporting activities in the food and leisure sector, a creative economy can be discovered in Fahadan quarter which alongside reinforcement of unique physical features of the area, forms a creative place. Its goal will be viewed as the place where artisans pave their way for reaching a creative quarter with new management.

The research presents policies to realize soft and hard factors required for creativity in the quarter, and shows step by step a small-scale pattern in the context of urban creativity planning, that can be used in historical fabrics with similar situation.

This paper aims to discuss the place-making processes of street art within the context of Toronto, Canada, and potential for street art as alternative tourism to contribute to new urban tourism and encourage urban regeneration in the city.

The study applies reflexive thematic analysis to analyse secondary data sources such as reports, maps, videos, websites, news articles and official documents alongside photographic documentation and field research.

Street art in Toronto has been found to coincide closely with processes of creative place-making. While there is some indication that municipal street art organizations and destination marketing organizations are aware of the possibilities for street art to contribute to tourism in the city, it remains an untapped resource for new urban tourism. As a component of creative place-making, it has great potential as a form of alternative tourism to regenerate a still struggling tourism economy.

This paper explores the nascent research area and practical application of street art as an alternative form of urban tourism in Toronto, Canada. It also fills a gap by connecting the concept of creative place-making with street art, urban regeneration and tourism specifically; a focus that needs wider attention.