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Considering the problems facing contemporary architecture in Iran, a better understanding of the meaning of architecture has become necessary. Architecture, like language, defines and facilitates the relationship between Man and his environment. The word architecture both in Arabic (Amara) and in Latin (Architecture), attempts to define the attributes of the maker before determining the characteristics of the product - a fact that points towards a more profound understanding. Thus, it is becoming increasingly important for researchers to define the process of formation (the how of architecture) more than the specific attributes of built form (the what of architecture). In this way, creativity and the different processes by which it is achieved, would gain a higher significance in architectural circles. Using an Endogenous Development model, this article seeks to offer an alternative approach towards architectural design. Accepting the hierarchy in causal relationships and expanding on the concept of elevating hidden meaning up onto the surfaces of expression, this article proposes a model of thought in which design consists of a process starting at the depth of ideas and common beliefs, moving up to the individuals' images and finally arriving at rational and general concepts. It is then argued that this process provides spaces in which it is possible to experience a sense of belonging to place, and even further, it allows users to abandon material belongings to arrive at feelings that occur in sacred places. This article offers the author's own particular teaching as one expression of this model of thought, whereby students start by working with mud and then gradually leave their childhood status to reach full maturity in design. Through this process, they obtain an ability to overcome technical and rational challenges in their projects, moving from "intuition" towards "wisdom", "knowledge" and finally "science" in the material world.

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