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Considering the classification of the Portuguese cities of Amarante, Braga and Barcelos as UNESCO Creative Cities in 2017, this study employs the case study approach to understand local residents' perceptions of the implications that this classification can bring to each of these cities, to their communities and to local tourism development. More specifically, the research explores the perceived tourism-induced impacts and destination recovery on the three cities, given their certification as Creative Cities. An online questionnaire was used in April 2018 to collect the opinions of local residents. The main findings of this study reveal that most of the respondents are familiarised with the UNESCO Creative Cities classification and are aware that their municipality was awarded this classification in 2017. The findings also reveal that the residents of the three cities have a strongly positive perception of the UNESCO Creative Cities classification. The large majority considers that the classification is important for the tourism development of the cities. A variety of tourism-induced impacts are perceived by the local communities. Overall, the positive impact perceptions outweigh the perceived negative effects. This study contributes to the tourism literature, destination (management) recovery and to local development and place policies of tourist destinations.

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.

As one of the United Nations Educational, Scientific and Cultural Organization initiatives, the creative cities network (CCN) declares the cities that are creative in the contexts of music, gastronomy, design, etc., with the aim of promoting cooperation amongst the member cities and maintaining sustainable urban development. This study aims to identify the destination food image of Gaziantep in Turkey, which is a member gastronomy city of the CCN since 2015. Identified destination food image elements were connected to the common targets of the CCN to show how the city may contribute to the network objectives.

A two-stage research process was used in the study. First, qualitative approach was adopted for the clarification of projected and perceived destination food image elements. Projected image elements were derived from a content analysis performed on a totally 113 official, semi-official and unofficial online documents in Turkish and English. Perceived destination food image elements were identified by face-to-face interviews, conducted on 10 participants. As a result, 18 projected and 20 perceived destination food image elements were obtained. These were then grouped under 4 main and 22 sub-categories. At the second stage, destination food image elements were matched with common targets of the CCN.

Destination food image elements, obtained by two qualitative studies, are grouped under 4 main and 22 sub-categories as follows: gastronomic identity (with sub-categories of destination’s identity and local culinary culture); diversity of the destination (with sub-categories of attractiveness of the local food, ease of promotion and high brand value); gastronomic attractions (with sub-categories of restaurants and cafes, culinary museums, farmer markets, orchards, gastronomy tours, gastronomy events (e.g. festivals, competitions), culinary education, books on gastronomy, certification systems, organizations, street foods and vendors and handmade or homemade foods); and qualified workforce and stakeholders (with sub-categories of expert chefs and cooks, specialist suppliers, service personnel, locals and local authorities). These are then connected to the common CCN targets (e.g. cuisine, tourism and festivals; extension of the creative value chain; fostering cultural creativity; and sustainability).

This is one of the early research attempts in examining a member gastronomy city’s food image elements and the role that they played in the success of the CCN’s common targets. Moreover, the study contributes to the literature on the identification of (projected and perceived) destination food image by using content analysis.

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.

From Batik cities to woven textile regions, Indonesia possesses several fashion destinations with remarkable textile heritage. The rise of fashion heritage destinations is characterized by avid textile lovers and fashion followers that promote the regions. Several diversifications of tourism alternatives are analyzed, such as rural tourism with experiential textile-making workshops, urban destinations connected to contemporary fashion heritage, architectural works inspired from/to textile heritage, as well as fashion week cities that spark the interests of global fashion designers to visit the country. This chapter evaluates the current state, its rising challenges, and to what extent it may be promoted through digital technologies, based on local practitioners and the governmental perspectives.

This paper aims to discuss the prevalent trends of exploiting cultural capital such as gastronomic legacy to ignite redevelopment of contemporary cities as illustrated in the city of George Town, Penang, Malaysia. In the twenty-first century, cities are transforming to be creative cities as they compete globally on the basis of their respective city branding, image and identity, as well as cultural capital assets. The emerging importance of cultural capital complements the realms of politics, economics and built environment in creating sustainable urban structure and ecosystem.

In line with UNESCO’s creative cities network flagship, this paper showcases George Town’s potentials in propagating its gastronomic appeals as a strategic urban asset to regenerate the urban economy.

This paper postulates branding George Town World Heritage Site as a creative city under the theme of “City of Gastronomy” would successfully capture the city’s gastronomic prowess, image and identity at the global scene.

Given that research in “culture and urban planning” is still at its infancy and largely absent in the Malaysian context, this study aims to fill that research gap and contributes towards existing scholarship. The findings from this test bed study will benefit key stakeholders, especially urban policymakers (i.e. Local Council, State Government and Federal Government) towards reforming and revolutionising contemporary urban policies towards sustainable development.

This chapter pinpoints a chronological and thematic literature review on the concept of Creative Tourism. Even if the concept emerged 21 years ago, its definition keeps being discussed, and different approaches are available. Born in the late 1990s, it developed rapidly due to a very open, flexible and local context design, enabling the development of personal capacity, authentic experiences and involving local culture and communities. This new approach to tourism envisages bringing together local people, their habits and practices in real and everyday contexts to the heart of the tourism experience provided to visitors. Therefore, it looks to be a promising path towards sustainability. Keeping this in mind, one can wonder if Creative Tourism can be a lever for territories' economic, social, cultural and environmental sustainability. In particular, can Creative Tourism's growing importance in Southern Europe be considered a major contribution to the sustainability of those territories? The literature review concludes that most of the studies on Creative Tourism take positive impacts on territories as a kind of ‘belief’. Such an effect is not granted as a beneficial impact on a communities' well-being; it does not result just from the type of resources explored or from the participation of members of the community on the products/services supplied.

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 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.

The purpose of this paper is to evaluate and compare the current trends in development of the second largest cities in each Baltic state – Tartu (Estonia), Kaunas (Lithuania), and Daugavpils (Latvia) – as smart destinations, based on publicly available tourism information.

The study uses a case study employing a descriptive research method, and the authors reached their conclusions based on this material. Furthermore, the paper primarily focuses on literature and new research which deals with tourism in the 21st century, its innovations, changes, and trends.

The levels and directions of development of Tartu, Kaunas, and Daugavpils as a smart tourism destination are different. Although all three are the second largest cities in each Baltic State, their initial historical development, availability of resources, locations, and strategic development of the country show differences in development. Tartu conforms to the standards in all four categories. However, the category of digitalization receives the most attention and contributes to the positive smart destination result in the other three categories. Comparatively, Daugavpils records fewer current achievements according to the STDC, although the authors believe that there is potential that can be seen in the strategic policy documents. However, judging by all four categories, Daugavpils, similarly to Kaunas, currently demonstrates the greatest achievements in the culture heritage and creativity category.

This paper presents data and compares smart tourism development trends in the second largest cities in each Baltic country.