*1.2. Creative Urban Design*

Globalization, as an economic, political and cultural process, enables networking into the global system, the rapid exchange of information, and implies spatial and temporal compression [10]. Cultural globalization contributes to the expansion of universal world culture patterns while weakening the influence of traditional local values [11]. In the duel between global recognition and local authenticity, culture and "genius loci" are becoming important factors in the creative regeneration of public spaces. The urban theory of a creative city encourages the development of techniques and principles of creative regeneration, which are based on culture, creativity, and social inclusion [12]. Research indicates the need to form new modes of communication in the creative city, with the aim of creating a multidisciplinary and interdisciplinary system [12].

Creatively oriented regeneration is the cornerstone of the "renewal" of traditional centres [13]. Various authors promote the concept of a creative city, city diversity, and competitiveness based on specific features of regeneration [12–14]. In contrast to the general treatment, policies, and emphasized theoretical discourse, this study uses urban design to analyse and identify the phenomena of a creative city and creative place in the context of the global hierarchy of cities and the economic competitiveness. The starting point is the concept of unconventional and concrete physical intervention on a small scale in the regeneration of the microenvironment into creative places with a range of contents that interpret new forms of connections, encounters, and events.

Starting from the very definition of public space in urban design [15], creative urban design has been identified in this study as a mechanism for sustainable placemaking. This process includes the active involvement of concepts based on art and culture and new forms of correspondence: "Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired" [16]. Placemaking in a modern, regenerative sense implies integration of the real needs of the local user, which have become globalized due to the dominance and impact of the information age.

### *1.3. Traditional Urban Spaces in the Context of Socio-Spatial Sustainability*

From the perspective of socio-spatial sustainability, it is important to reflect on traditional frameworks in the theoretical interpretation and generation of urban areas. Various authors have studied and interpreted the interdependence of society and spatial forms [17–26]. An urban area occurs as an expression of the relationships in social production and represents a material and symbolic reflection of a society [17,19,20,27]. Mumford identifies the city as a social institution and states that the objective of city planning is the proper dramatization of communal life [28]. He considers social factors as primary, and the physical organization of the city, as well as its industry and trade and communication and tra ffic, subordinate to social needs. Castells also emphasizes the city's role within social structures and human life [29]. In addition, the authors give advantage to places rich in information and activities and those that have visual transparency [30–32]. Giddens [19] refers to social interaction as being mutually affective between users of a space or collectiveness in spatial and temporal continuity, through all stages of the city's development. All spatial forms and relationships are produced by human actions and represent the fulfilment of the interests of the dominant class in accordance with a given mode of production and a specific mode of development [29]. The issue of the relationship between physical structure and the movement of users is treated as a measure of a good space [30]. The connection between the history of social practices and spatial cultures (structures) is a fundamental dialogue [33]. In a historical context, sociological sequences have a direct impact on urban space. Bogdanovic emphasizes the city as a historical product, not just in terms of its physical materiality but also in the cultural sense—a city that creates a sense of historicity and feeling of continuity [34]. Bogdanovic recognizes the personalities of cities (i.e., persona cities) that have a strong cultural identity, as well as the cities that are lacking the qualities he considers necessary to be called cities [34]. Bogdanovic points out that every city carries a certain energy (i.e., a "quantum of energy potential") and a certain psyche or awareness of existence [34]. Cultural patterns of forming urban structures and ways of life are what determine a city's cultural identity and at the same time, these are what makes them substantially different from each other.
