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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.

This paper aims at presenting an example of the good practice of crime prevention through environmental design (CPTED). The initiative has been carried out by a private tram company in Spain to tackle graffiti. Their main goal was to avoid graffiti defacing in their underground stations, and artists were involved in the design and execution. The intervention consisted of a combined strategy of CPTED measures (anti-graffiti coatings and paintings) with a comprehensive use of the space, turning stations from transit points into poetic spaces, generating emotions and a sense of belonging. The features also included an urban graffiti gallery.

This case study presents and describes the actions undertaken from the early stages of problem framing to execution and a soft assessment of the results obtained. All the information provided has been gathered through four semi-structured interviews with managers and designers of the experience.

The TramArt experience is an example of the shift in the mindset of transport operators regarding graffiti and graffiti artists. All interventions have been designed by the transport operator in cooperation with situational artists. As a result, the tram stations and vehicles are not conceived either as non-lieux or canvas, but spaces with a singular identity, with the possibility of generating a sense of belonging among passengers and users. The first intervention was tested in 2004 in one station and three years later was deployed in three more stops. According to the initiators, its impact has been mainly positive in terms of success rates, cost reduction and general satisfaction and security perception of passengers. However, the urban gallery has been more problematic to maintain.

This research focuses on the transport operator perspective basically and views expressed by transport users are indirectly assessed. While the change in the angle may be scalable, the specific features depend to a great extent on particular conditions, such as the size of the company, the resources available and the characteristics of the area covered.

The value of this case relies in the constructive approach towards graffiti, which goes one step further than the broken windows theory and the criminalisation of graffiti by default. It departs from prevention to enhancement of the prosocial aspects of graffiti, as well as providing a new conception of transit spaces.

The purpose of this paper is to begin unfurling the cultural value of street art experiences by opening up an audience-centred research stream sensitive to the nuances of this art form.

The paper develops a two-part model through which to investigate how everyday citizens experience street art. The methodology involves a purposeful literature review, and direct assessment of how the nuances of street art could pertain to audience experiences.

The first part of the model conceptualises the characteristics that distinguish contemporary street art from other art forms. To help further guide future research, the second part distinguishes six layers that frame street art audience experiences: (1) “the art”, (2) artist's intentions for the art, (3) the street artist, (4) experiential context, (5) social contexts and (6) audience interpretive lenses.

The investigative model provides a constructive stimulus for substantive empirical inquiries into the dynamics, complexities and implications of everyday street art experiences.

The research stream developed could inform appropriate approaches to facilitating street art, and collaboration amongst street artists, facilitators, municipal representatives and policymakers.

The paper helps to open up an audience-centred approach to street art that intersects with recent developments in arts experience, cultural value and arts marketing.

Many historical urban cultural landscapes are suffering the effect of rapid urban economic development. This paper integrally relates historical sites in dispersed and point-shape distributions in cities and proposes strategies and methods for constructing urban linear cultural landscapes. As such, our work aims to form urban cultural landscape communities with an organic and linear distribution. The urban linear cultural landscape is not only an important means for integrally protecting and utilizing historical sites in historical cities but is also a special type of urban cultural landscape. The urban linear cultural landscape’s extensive application can enrich the theory of cultural landscape and protection methods of urban cultural heritage.

This chapter begins with a brief journey through the history of art in order to point out art serves both social and psychological functions and how it is tinged by civilizational and historical context by accumulating layers of purposes and sense from the past times and diverse mind frames. Art produced in the first quarter of the twenty-first century has absorbed the late trends of the twentieth century and has traced and reinforced some paths, especially those in connection to economy (art as a valuable market product) and society (art as statement, critical posture and participatory citizenship). The chapter brings together these ideas with examples showing, on one side, the economic connection of art to the market and mass consumption, while other projects, on the other side, include a politicized facet and activism through self and collective curatorship, participatory art and glocalization of its matters of interest, audiences and social impact.

The cultural tourism industry, which has subtly met the needs and solved the major problem of the current age, is a new growth point for the current city economic growth. Therefore, its position in the industrial structure system will be increasingly improved. The development of the cultural tourism industry also provides an important opportunity for the renewal and re-engineering of urban space. For the current urban space construction crisis needs the integration of historical and cultural elements urgently while the development of the cultural tourism industry itself happened to need the city to provide the necessary carrying space and incubation carrier urgently as well. Thus this research discusses the construction of urban visual planning system and the specific implementation path from the perspective of the development of cultural tourism industry.

Graffiti and street art have become a universal, intercultural and multidisciplinary urban phenomenon. The contribution of scientific research has greatly increased knowledge about this peculiar culture that has transformed the way we view and experience the city. The general objective of this chapter is the description of a framework for community development, focused on young people, using graffiti and street art culture as an aggregating resource for social inclusion, cultural entrepreneurship and empowerment. The identification of a set of tangible and intangible assets linked to the creation of cultural synergies for the benefit of young citizens provides a model that may be employed for the social and economic progress of local communities. This chapter also provides a macro and micro environmental analysis intended to establish guidelines for the implementation of entrepreneurial projects for the cultural development of diverse social settings. In this sense, the examples of distinct cities, such as Lisbon, Heerlen and Toronto, demonstrate that their dynamics around street art culture are a challenge for engagement in effective socio-economic constructions. Similarly, the academic research project StreetArtCEI provides not only the scientific knowledge but also resources for the community to use in entrepreneurial actions.

This article is a profile of CoolTan Arts, a pioneering arts and mental heath charity based in South London that believes that mental well‐being is enhanced by the power of creativity. CoolTan Arts exists to inspire the well‐being and creative participation of a diverse range of people through the production of quality arts. It is a participant‐led organisation, run by and for adults experiencing mental distress, underpinning all its activities with advocacy. Totally unique in its approach, CoolTan Arts integrates people with serious and common mental distress with the general public through its gallery and public events.