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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 current trend of designing workspaces to foster creativity. The paper brings forth themes that seem to be connected with the so-called ‘creative workspaces’. The paper discusses how the findings relate to recent theory and research. Finally, the paper develops propositions to further elaborate the issue.

The paper adopts an inductive and social constructionist approach. In all, 40 internet pictures of workspaces claimed to be creative among a broad range of industries and companies which were analyzed through an aesthetic lens and compared to what theory and research about organizational creativity and space inform us.

The designs of ‘creative workspaces’ follow a rather standardized and deterministic assumption of what kind of spaces are considered to produce creativity: open offices, happy, playful communities of close-knit teams and spatial arrangements that resemble home, symbols and memories, sports, technology and nature. This view of creativity and workspaces remains a management fad unless a more balanced approach to the issue is assumed.

The sample is not to be representative and the findings generalizable as such, but to bring forth the phenomenon. This exploratory and inductive approach calls for a systematic study to prove the propositions in a more controlled research setting and with a bigger sample.

The paper makes a few suggestions of what companies should pay attention to when building workspaces to improve organizational creativity – and to overcome the fad.

The proposed end-user perspective may ultimately save costs, if people can voice their needs on the space arrangements from the beginning and throughout the building process, not only after the spaces are fully complete, as is typically the case.

The paper provides a critical view on the trend of building work spaces to purposefully enhance organizational creativity. It brings forth themes that are connected to creativity and workspace designs and suggests that more nuances are involved in the issue.

The early childhood education classroom space is intrinsic to developing localized youth culture. Through a four-month-long qualitative research project in a space that focused on meeting the most rudimentary child needs due to staffing and fund restrictions, young children’s creativity through the arts was stunted. In a classroom setting focused on structure and strict routine at the forefront, children’s creative expression was observed through independent action and creative twists on order, instead of through activities deliberately designed to nurture creativity and expression. Since the children at the site did not seem to regularly participate in any kind of art making, or unstructured creative expression, my focus instead became the fundamentals of creativity and how young children in the classroom demonstrated choice making and agency. The objective of this study was how to understand the space from a child-centered approach to better project how to include art making, creative education, and creative expression within early childhood education sites that do not currently employ it in their curriculum. This chapter aims to situate how young children created a culture of creative expression within the boundaries of a structured early education classroom when top-down teacher interaction was at a minimum, and open-ended, non-directive materials were provided.

This study aims to investigate the characteristics of the physical work environment that are known and used in practice to promote creativity for innovative start-up workplaces. The first part of the study identified these characteristics from a content and visual analysis, and examined the current state of implementation of these characteristics in the work environments of innovative start-up companies. The second part of the study examined criticalness and practicality of these characteristics in the workplace with a group of experts in the workplace design, evaluation and management.

A content and visual analysis for written and visual images was conducted to identify a comprehensive list of characteristics of the physical work environment critical to creativity of the workplace. With the seven characteristics identified, an instrument was developed and interviews were conducted to assess the physical work environments of 22 innovative start-up companies in Michigan. Following up the interviews, an expert group was formed with 26 professionals including architects, interior designers, facility managers and CEOs. A survey was conducted with them to understand the significance and implementation issues among the seven characteristics.

The most frequently incorporated characteristics in the innovative start-up companies in Michigan were spaces for idea generation, technology interface for collaboration and spaces for a short mental break or social hangout. The three most important physical work environmental characteristics for companies to produce creative, innovative ideas and products/services for growth and market competitiveness were balanced layout, technology interface for collaboration and spaces for idea generation.

The study provides a comprehensive framework to evaluate creative workplace regarding the physical environment. It also offers insights on the work environments of the innovative start-up companies for increased creativity and innovation performance in the workplace.

This paper explores the spatial and material context of a creative production project. Taking the music recording project as an empirical setting, it explores the creation of a pop song and reveals the highly situated character of its management and organization. Making a creative product such as a pop song is a complex endeavor, requiring a large number of decisions involving highly subjective and often contested and contestable judgments. The purpose of this paper is to understand how this is achieved.

The study is based on observation of musicians and a music producer during the creation of a pop song in a mid-sized recording studio. Interviews were also conducted with the participant musicians and 24 music producers based in the UK. The resulting qualitative data were analyzed using a socio-material perspective to trace the spatial relationships and explore the material organization of the project.

Producing musical product is achieved through establishing spatial and material relations in order to regulate tasks and roles and manage the challenge of making decisions within temporarily assembled teams engaged in tasks characterized by high levels of uncertainty.

This paper tackles a neglected aspect of creative management, the physical context in which it is carried out. Other sites within the creative industries such as design and film studios, theatre and other performance spaces can usefully be analyzed using the approach and perspective of this research.

The purpose of this paper is to discuss whether creative tourists can transform the service encounter in city hotels in a way that can reduce the amount of emotional labor required from service employees and its negative consequences.

Based on current definitions of creative tourism, on the literature of culture, culture's relation to emotions and emotional labor, the researchers develop a conceptual spatial model for the city. The model aims to understand how creative tourists can influence the hospitality industry as they move between creative and standardized spaces.

The spatial model conceptualizes the city as having two divergent spaces for creative tourists. The model suggests that differently constructed characteristics of these spaces interrupt the continuity of the creative tourism experience. Therefore, the possibility of a transitive relationship between these spaces may benefit both creative tourists, by providing unity to their experiences, and service employees, by reducing the amount of organizational control on their emotional displays during service encounters.

The paper offers a preliminary model. Therefore, empirical research is obligatory to understand whether this proposed spatial model and the related consequences have equivalence in real life situations.

The model can bring about various practical implications for human resources processes of hotels ranging from selection to training.

The study offers a model proposing a continuity of creative tourist experiences in different spaces. It also constitutes an effort to question the requirement of emotional labor from hospitality employees.

While the theoretical interaction of the creative and cultural industries and entrepreneurship in business is gaining attention in the literature, such entrepreneurial practices are extending their role and position in the economy and in urban areas undergoing transformation. The purpose of this paper is to contribute to that literature by generating a model that links creative entrepreneurship with urban transformation as places see and expect continuous change and development.

The authors adopt a conceptual approach, embedded in a triple helix model, of creative entrepreneurship and urban transformation of the Baltic Triangle area of Liverpool, England. The authors inform this through a case study analysis, including qualitative interview data relating to the Baltic Creative.

The authors demonstrate the need for interdisciplinary research to assess value creation, value delivery and innovation as contributors to urban transformation based on creative entrepreneurship, while at the same time resulting in creative placemaking.

This is a conceptual paper that will be used to frame future empirical research on generating additional insight by interviewing key actors to heighten understanding of innovation, value creation and value delivery process of placemaking, creative change and urban transformation.

This work can help inform creative policymaking, planning and development to achieve both social and economic impacts for a place and the wider region.

The authors both contextualize and show the transferability of the model, using the example of Liverpool’s Baltic Creative in Liverpool’s Baltic Triangle area of the city, highlighting the impact of creative change.

The purpose of this paper is to present the challenge of the creative economy for FM practice and research. It seeks to do so by comparing developments in FM with developments in the related discipline of urban planning.

The research is based on a comprehensive literature review as well as action research in relation to urban planning.

The growth of the creative economy has meant a close connection between corporate and urban development. This means that FM, in order to facilitate creative environments, can find inspiration from trends in urban planning, and look at the urban context as a part of its facilities. However, including the urban context in FM, and studying it, comes with possibilities as well as challenges. FM needs what is called a thematic as well as epistemological “urbanisation” in order to recognise creative and social possibilities and needs.

Whereas the research is thoroughly founded in urban and social theory and sketches out important considerations in establishing an urbanised research agenda for FM, it does not include all recent developments within subjects such as new ways of working, place design and management.

The urban perspectives unfolded show avenues of development regarding both strategic considerations for place design and necessities of and possibilities in corporate social responsibility within FM through community and research collaboration.

The paper provides ideas of how an urbanised FM can play an active role in creating a positive change of neighbourhoods at the same time as facilitating a creative development for corporations.

In relation to community‐based FM, the possible interaction between FM and the urban context has been discussed from an FM point of view. This paper brings this discussion a step further: it illustrates how urban planning knowledge holds the potential for a further social and urban development of FM research and practice in a creative economy.