AbstractContext and purpose. The purpose of this research is to design a model for the development of CULTURAL and CREATIVE INDUSTRIES through economic tools and mechanisms and the integration of CREATIVE and CULTURAL economy.Methodology/approach. In the current study, the qualitative method of grounded theory was used and the in-depth interview technique was used to collect information. The sampling method of the research was purposeful and snowball methods with theoretical saturation criteria and interviews with 20 experts in the field of CREATIVE and CULTURAL INDUSTRIES. open, axial and selective coding processes was used to data analysis, and after that, the grounded theory emerging from the data was presented in the form of a story and visual model, and based on them, definition and classification were carried out for the application of the development of CREATIVE and CULTURAL INDUSTRIES. Findings and conclusions. The results have shown that training and empowerment of CULTURAL and CREATIVE INDUSTRIES and culture building in the field of CULTURAL and CREATIVE INDUSTRIES act as intervening conditions to encourage business owners to create CULTURAL and CREATIVE jobs, and these three-dimensional conditions in interaction together have caused the development of CULTURAL and CREATIVE INDUSTRIES and the dynamics of the economy and moving towards the CREATIVE economy, and the consequence of that is the CREATIVE ecosystem approach to economic benefits and economic profitability and CULTURAL development.Originality/innovation. Previous researches have pointed out factors affecting CULTURAL INDUSTRIES or CREATIVE INDUSTRIES separately and from different perspectives,

Background: CULTURAL CREATIVE INDUSTRIES may have a crucial role in promotion of CULTURAL capital in Iran. So, it would be necessary and worthy of paying attention to this issue.Objective: The purpose of this study was to investigate the relationship between CULTURAL CREATIVE INDUSTRIES and promotion of CULTURAL capital in Iran.Method: The sample included 350 people of senior executives and experts in CULTURAL organizations in Broadcasting organizations, Education, Organization of Islamic Culture and Guidance, Culture and Islamic Communication, CULTURAL and Social Committee and the National Security Council, the Governor's Office of CULTURAL and Islamic universities in 31 provinces. The clusters were selected through random sampling. Data were collected through questionnaires that were standardized through CULTURAL experts and its reliability by calculating Cronbach's alpha coefficient (8.0) was confirmed. The data analysis was performed using statistical correlation and regression.Results: The results suggested that, between CULTURAL CREATIVE industry and CULTURAL promotion in the Iranian capital, there is a significant positive correlation and components can be properly trained to predict the promotion of CULTURAL capital in Iran. The findings showed that, 55% of CREATIVE and CULTURAL INDUSTRIES can promote changes in the CULTURAL capital of the state and 18% of the favorable conditions to explain and predict.Conclusion: These findings reveal the ways planners can fulfill the promotion of CULTURAL policy in the country.

CREATIVE cities are recognized as centers of innovation, creativity, and idea-to-wealth conversion. Today, ideas and innovation are fundamental principles for competition, therefore having a CREATIVE city is every society's desire. Accordingly, the main objective of this research was to design and adapt a CREATIVE city pattern focusing on CULTURAL INDUSTRIES in Mashhad metropolis. This study is applied in terms of purpose and quantitative in terms of method. Questionnaires and structural equation modeling were used for validation of the model to present the pattern and test its validity. The statistical population consisted of all experts, specialists, managers, and academics related to this field, totaling 850 people, from which 265 people were selected as the research sample using Morgan's table. A researcher-made questionnaire was used for data collection,therefore, construct validity was used to examine validity, and Cronbach's alpha coefficient was used for reliability. Using structural equation modeling, the extracted model's validity and reliability were tested and accepted. Based on the results, CULTURAL dimensions include diversity and CULTURAL infrastructure, events, education, and supportive policies that contribute to CULTURAL richness and artistic development. Social dimensions emphasize CREATIVE human resources, CULTURAL collaborations, and CREATIVE spatial characteristics. In the technological dimension, innovation in CULTURAL INDUSTRIES and digital infrastructure development, such as artificial intelligence and virtual reality, play key roles. Environmental dimensions relate to CULTURAL sustainability and environmental protection. The economic dimension includes advertising, branding, and urban CULTURAL economy that contributes to CREATIVE industry growth. The presented model was confirmed by experts, and suggestions for CREATIVE city development were proposed, including strengthening CULTURAL infrastructure, supporting CREATIVE human resources, holding artistic events, and improving supportive policies.

CULTURAL policies are adopted based on CULTURAL approaches with the aim of creating CULTURAL changes in the society and are implemented under the influence of various factors. The main goal of this research is to identify the effective factors, expected functions and CULTURAL policies in the form of a model for the implementation of CULTURAL policies with the approach of CULTURAL CREATIVE INDUSTRIES of Isfahan city. For this purpose, this research was carried out in the spatial territory of Isfahan city in 1401. The research method is interpretive, practical and qualitative. The statistical population of this research includes experts and owners of CREATIVE and CULTURAL INDUSTRIES in Isfahan city. Snowball sampling method and the sample volume is determined at the theoretical saturation point of 16 people. In order to collect data, a semi-structured interview tool is used, and in their analysis, a content analysis method is used in the form of Maxqda software. The results of this research identify the factors and components that influence the formation of the pattern of CREATIVE CULTURAL policies in the form of 10 factors (geographical location, proximity, CULTURAL facilities and infrastructure, political support, managers' support, laws and regulations of the economic situation, CULTURAL maturity, characteristics of activists, market capabilities), CULTURAL policies in the form of 3 policies (production, class and CREATIVE place-oriented), and expected functions in the form of 6 factors (CULTURAL stability, development of consumer orientation, CULTURAL diversity, development of participation, development of CULTURAL economy, development of competitiveness) ) Led.

An integral feature of urban development is economic and symbolic value which hasbeen brought by CULTURAL INDUSTRIES. A city, especially its historical center, acts as a set ofCULTURAL resources that provide CREATIVE arena for CULTURAL production and consumption,competing fields with each other, increasing city attractions for potential investment andimproving interaction with local communities and making a memorable place. In addition,the ability of this sector can be an important indicator for innovative capacities of otherparts of the city and its extensive economy in national and regional level.CULTURAL quarters based on innovation, flexibility, idea making and changeability canbe useful indicators for a set of extensive changes and affecting the city and quarter'seconomy and providing CREATIVE INDUSTRIES. Thus developing CREATIVE INDUSTRIES throughestablishing CREATIVE and CULTURAL regions as a key for developing the region and changingthe landscape of historic quarters, is considered as the most important necessity of thispaper. The aim of this study was to explain a way along with developing CREATIVE economyin historical urban textures with an emphasis on CULTURAL and historical themes, as wellas explanation of a creativity-based strategy to establish an integrated system of urbanregeneration and to achieve a new identity and improve the image of the city in competingfields, that has been studied with a qualitative approach and a descriptive and analyticalmethod based on a review of documents and evidences and explanation of the case study,leading to suggest explanation motives for a CULTURAL quarter inside historic urban texturesin the case study-Lalezar.

Historical urban textures are valuable recourses which are considered as CULTURAL properties of cities and countries. The large amount of planning interventions for restoration of these textures shows their important role in presenting an attractive image of cities. Considering a great amount of these planning interventions related to restoration of historical urban textures indicates that there is a mono-dimensional approach to do so which means that physical aspects have had an important status in the planning of restoration of historical urban textures while functional aspects have been neglected. With the aim of presenting a new approach to the restoration of historical urban texture, this paper tries to describe and extend the general strategy of CREATIVE and CULTURAL INDUSTRIES and clusters for restoration of historical urban textures. Using descriptive-analytical method and taking an interdisciplinary approach, this paper proceeds to present developmental indices of CULTURAL clusters in the form of benefits, facilities, and potentials. Exploring the documents of restoration and renovation plans of Iranian historical textures, the needs, restrictions and problems of such plans are proposed at last. Doing different kinds of pair comparison between the needs and problems of historical urban textures and benefits and potentials of CULTURAL clusters, the used analytical model in this research aims to present operational strategies for restoration of historical urban textures.

Problem statement: Cities are the places to promote creativity and development. CULTURAL districts of cities are the manifestation of the diverse dimensions of people who have recorded their CULTURAL identity. Activities in public spaces of urban quarters play an important role in the growth of collective creativity. To support these activities, much attention has been paid to the CREATIVE class in the cities that has led to the emergence of the CREATIVE city movement. The core of the CREATIVE city is based on beliefs such as culture, art, planning, and CULTURAL INDUSTRIES. Research purpose: The main objective of this study is to identify the effective components in promoting community, culture through answering the main research questions of ‘ what is the principle of CULTURAL regeneration in a CREATIVE city? And which criteria are important in the development of a CULTURAL and CREATIVE quarter? ’ By studying the raised theories in the field of CULTURAL and CREATIVE INDUSTRIES with a culture-led regeneration approach, the paper tries to identify effective measures in promoting urban areas in order to develop a CULTURAL and CREATIVE quarter. Research method: based on a qualitative strategy and documentary and library studies, related theories to the field of study were restudied; and through a rational argumentative strategy, the main criteria for the regeneration of a CULTURAL and CREATIVE quarter were chosen and the graph of content relationship of culture-led regeneration and creativity was drawn up. Conclusion: according to the conducted analyses, the criteria of culture-led regeneration in CULTURAL districts and CREATIVE quarters, are specified and presented in the format of an analytical research framework. The results indicate that despite unexpected disagreements and outcomes, strategies such as the prosperity of the CULTURAL economy, increase of facilities and the promotion of CREATIVE tourism, will lead to the social vitality of public spaces and as a consequence, citizens will participate in empowering them as the CREATIVE class.

One of the important issues that developing countries are looking for is moving from centralization to decentralization in the path of economic growth. CULTURAL and CREATIVE INDUSTRIES are among the nascent fields that are mentioned as one of the paths of economic development in countries. Considering the importance and position of CULTURAL and CREATIVE INDUSTRIES in the economy, several efforts have been made in different countries to classify and measure the contribution of these INDUSTRIES. It seems that the position of these INDUSTRIES is not properly understood in our country, and therefore little systematic efforts have been made to calculate the share of these INDUSTRIES in the economy. In this article, after reviewing the various definitions and classifications presented for these INDUSTRIES, the UNESCO classification was used as a standard, and based on that, the contribution of CULTURAL and CREATIVE INDUSTRIES in the consumption portfolio of Iranian households has been evaluated using the expenditure method. To achieve this, the raw data of the household income cost based on the secondary analysis of statistical data and mathematical calculations have been analyzed using R software. The analysis of the results and data shows that the per capita CULTURAL and CREATIVE consumption of different income deciles is very different, and the first decile spends 2.75% and the tenth decile spends 11.31% of their expenses on culture. Also, the results by geographical distribution and province of residence show that Tehran province has the highest per capita consumption and Kerman province has the lowest per capita CULTURAL and CREATIVE consumption. Finally, the share of CULTURAL and CREATIVE consumption from the total household expenses in 2018 is estimated to be 6.63%.

One of the important issues that developing countries are looking for is moving from centralization to decentralization in the path of economic growth. CULTURAL and CREATIVE INDUSTRIES are among the nascent fields that are mentioned as one of the paths of economic development in countries. Considering the importance and position of CULTURAL and CREATIVE INDUSTRIES in the economy, several efforts have been made in different countries to classify and measure the contribution of these INDUSTRIES. It seems that the position of these INDUSTRIES is not properly understood in our country, and therefore little systematic efforts have been made to calculate the share of these INDUSTRIES in the economy. In this article, after reviewing the various definitions and classifications presented for these INDUSTRIES, the UNESCO classification was used as a standard, and based on that, the contribution of CULTURAL and CREATIVE INDUSTRIES in the consumption portfolio of Iranian households has been evaluated using the expenditure method. To achieve this, the raw data of the household income cost based on the secondary analysis of statistical data and mathematical calculations have been analyzed using R software. The analysis of the results and data shows that the per capita CULTURAL and CREATIVE consumption of different income deciles is very different, and the first decile spends 2.75% and the tenth decile spends 11.31% of their expenses on culture. Also, the results by geographical distribution and province of residence show that Tehran province has the highest per capita consumption and Kerman province has the lowest per capita CULTURAL and CREATIVE consumption. Finally, the share of CULTURAL and CREATIVE consumption from the total household expenses in 2018 is estimated to be 6.63%.