The CREATIVE city concept has been derived from this field researchers and theorist consideration to the environmental and spatial dimension of creativity. Various indexes have been provided to measuring cities creativity that in all of them, the conditions and features of society has been considered. In this regard, the aim of this study is making a CREATIVE city index appropriate for Iranian culture. This study in term of modality is descriptive-analytical, and in term of purpose is a practical research. For data collection, the library, documentary and survey method in form of the Delphi method is used. In next step, with reviewing 15 international CREATIVE city index, a list of indicators extracted, then using Delphi method and screening indicators and measures, the Iranian CREATIVE city index has been created. The result of Delphi method in three round was the confirmation of 49 measure by Delphi panel members for making Iranian CREATIVE city index that from these 49 measure, the 32 measure was drawn from previous studies and 17 measure was provided by Delphi method members.

This study sought to identify and describe social communication methods used in terms of cultural signification by tourists and the host community in Chaharbagh Avenue, Isfahan, Iran. To this end, a qualitative approach was adopted, using the meaning coordination management model as the theoretical framework. The population of the study comprised the residents of Isfahan City, among whom thirty people were selected through purposive sampling until theoretical saturation was achieved. The required data were collected via participatory observation and semi-structured interviews, which were then analyzed through content analysis, and open and axial coding. The study’s findings indicated that while the majority of Isfahani people expressed a positive attitude concerning the presence of tourists and establishing communication with them in Chaharbagh Avenue, poor CREATIVE hardware and software infrastructure in street communication, lack of coordination among policymakers, planners, and operational units in establishing effective communication and failing to consider creativity in redefining the third generation tourism products have prevented the avenue to gain a desired position in terms of tourism success. However, it could generally be argued that the residents of Isfahan City (as the host community) had a favorable attitude towards making effective communications with tourists in Chaharbagh Avenue.

The subjective steps of creativity process i.e. "insight", "preparation", "incubation", "intuition", and "verification" based on Wallace Model was proposed after defining creation; They were discussed and suggested that these steps cannot be taught. But the objective steps of creativity process i.e. "combination", "mutation", "analogy", "first principle" (Another CREATIVE design method with similar potential has been added to the list, which is widely accepted, is a useful objective model of CREATIVE design) and "emergence" in a form of an instructional and designing practice were studied. The mutation, in which a novel concept emerges- perhaps quite suddenly- as a potential design solution, is widely regarded as a characteristic feature of CREATIVE design. This paper is based on an example of a Mutation which occurred during a recorded study of the activity of a small design team. The characteristics and context of this Mutation are reconstructed from the recorded material. It is concluded that the perceptual act underlying CREATIVE insight in design is more akin to bridging than leaping the gap between problem and solution. CREATIVE design as mutation involves modifying the form of some particular features, of an existing design. Mutation procedure involves recognizing the existing constructive features and modifying them afterwards. In this practice, mutation includes recognition of inefficiency of the last form of fabric cupola which is provided by the student's adding glass at the ceiling. This is an important step in the formation of ideas.In this practice, learning is examined at three steps: Active learning is the first which is a quick glance at the obligations that are mainly acquired through examination of the samples of Iranian architecture and demonstration of photos. The second is "Passive learning" in which the student progresses through making Knowledge Bridge with the professor and is often guided through discussion and asking questions. The third step is "Reflective" in which the novice offers his mental recognitions and implicit findings for the evaluation of the results of his work and improvement of his skills.The novice should get engaged in imitation in order to reflect the behavioral feedback of the instructor. The instructors should also observe the reflective behavior of the novice. They must observe reflectively and improve or add to their instruction until they make sure that the novice's behavior is convergent. The difference between the skill of a novice and that of an expert is "a gap to be bridged by an intelligent effort". This paper is not attempting to devalue the experience of working with a master, only to refocus where its value lies. The important point concerning learning is one of access to practice as resource for learning, rather than instruction. And this access to practice needs to include more than just access to master teacher. Involvement in a participatory support and critique in the practice is necessary to enable students to evaluate and improve the quality of their work, Through the whole paper, problem solving area is considered more significant in which the student is mostly discovering than innovating.

One of the expectations of architecture students is to be "CREATIVE" in their academic performance and, later, in their professional activities. One way to improve creativity in architecture students is through CREATIVE education, and in order to teach CREATIVEly, teachers are supposed to use CREATIVE teaching methods. The findings of this article indicate that interaction between three elements of CREATIVE man/student, CREATIVE environment, and CREATIVE education can improve creativity in architectural education. In order to improve creativity, a variety of thinking styles should be engaged in educational methods. This research investigates the theoretical aspects of each of the three elements. It measures the correlation between these elements and the level of creativity in the performance of the architecture students at the School of Architecture at the University of Tehran, entering between 2019 and 2023. Data analysis by Smart PLS software indicates that in terms of satisfaction with the content of courses, all students believed that General Courses were ineffective in promoting their creativity, while 69% considered Design Studios had a considerable influence on their creativity. Students' satisfaction with their educational environment was 50%, and educators’ CREATIVE teaching method was less than 50%. The D brain-quadrant dominance group reported poor satisfaction with CREATIVE teaching methods. The non-significant correlation between satisfaction with teaching CREATIVE methods and the students’ success rate indicates that educators have not yet been able to use appropriate teaching methods compatible with their students' capabilities. The non-significance of the correlation between the educational environment and creativity in teaching with the success rate in group D indicates that most students have been able to have a positive academic performance by relying on their abilities. This research suggests that adopting a CREATIVE educational environment and a CREATIVE teaching method can significantly impact the student's academic performance.

Developments of science in the last decades have caused lots of doubts about the mechanical paradigm and the Newtonian thinking. Also, the chaos theory shook the pillars of the quantum mechanics, and showed that the quantum mechanics is not able to recognize the nature, and also, we are not able to make a certain program for the nature. In this paper, we intend to find a suitable response for this question: "What are the roads of the nature?" In order to answer this question, we review the classical thinking with its axioms, and present some critiques about it. Then, we will investigate another viewpoint about the nature. Finally, we will introduce the third point of view in order to find out: "what are the roads of the nature?" This point of view is based on the motion and evolution in the nature, and helps us to find out the meaning of the systematic viewpoint in various phenomena.