Introduction

Fostering knowledge, creativity, and innovation is essential for sustainable urban development globally. By allocating more resources, embracing cultural diversity, and encouraging entrepreneurship, cities can excel in the knowledge-based economy of the twenty-first century. Collaboration among universities, industries, and communities is crucial for driving progress and shaping a more sustainable and inclusive future for all (Jafari et al. 2021; Donegan et al. 2008). Urban creativity and innovation have long been recognized as pivotal elements in urban and regional development. The roots of these efforts can be traced back to the works of Alfred Marshall in the 1920s, Robert Park, and Jane Jacobs (Zhang et al. 2023). However, early attempts to define and grasp urban creativity were limited in scope, focusing mainly on one aspect of urban planning and related matters (Florida 2003). These initial approaches often neglected the broader urban context and were predominantly driven by sociologists, economists, and urban scholars (Homan et al. 2024; Gold and Gold, 2024). By the mid-1940s, urban growth had transcended simple social, economic, and design or planning considerations (Cordero Ampuero et al. 2024). Cities started experiencing rapid expansion and urban sprawl, leading to the dilution of distinctive features in favor of new suburban developments that could endanger the ecosystem's foundations (Swain et al. 2017; Ghalehteimouri et al. 2024a, b; MacAfee and Löhr 2024; Ghalehteimouri et al. 2024a, b). City administrators responded by implementing land use plans, zoning regulations, and repurposing vacant land in city centers. While these measures aimed to tackle urban challenges, they often resulted in increased complexity, density, and vertical growth, particularly in urban cores, undermining the sense of place and identity in these areas (Talkhabi et al. 2024; Permanasari et al. 2024; Sithole et al. 2024).

While this trend will lead to the growth of science, technology, and innovation centers and the cultivation of creative human capital, if it continues to be based on conventional theoretical principles, it may have adverse effects such as rising unemployment rates, escalating spatial inequality in the city, and urban deterioration. This could exacerbate the disparity between various social groups in terms of social and economic progress (Mousavi 2014; Ghalehteimouri et al. 2021). Given the significant changes occurring in urban environments, the promotion and establishment of creative cities require the creativity of authorities, business owners, and residents as a crucial factor and fundamental solution to many urban challenges (Ahmadi et al., 2022; Kozina et al. 2021; Borén and Young 2021). The underlying principle of the creative city concept is that it has the potential to unlock more opportunities than a location currently possesses or can envision (Redaelli 2011). Originating in the 1980s, the concept of a "creative city" aimed to rejuvenate cities on a global scale (Ratiu 2013). As the concept of the creative city has gained traction among experts, researchers, and policymakers in recent years, leading cities have adopted creative city policies, with academic and political studies focusing on major cities and metropolises capable of meeting diverse demands from people and activities (Rafieeyan and Shabani 2015). A creative city is a center where artistic creativity, scientific and technological innovations, and vibrant cultural expressions can thrive. It is a city that maximizes its creative potential and serves as a model for cultural and developmental initiatives.

Through strong cultural and intercultural learning, the creative city promotes personal growth. Individuals in this city are confident in their scientific, technological, artistic, or cultural skills. Given the significant transformations occurring in the urban landscape, the creativity of city officials, business owners, and residents plays a crucial role in addressing various urban challenges. This approach also emphasizes how citizens engage creatively in addressing city-related issues (Nederhand et al. 2024; Shamaei and Jafarpour Ghalehteimouri 2024). A key characteristic of a creative city is its attractiveness as a place to live and work for its inhabitants, especially the younger generation, as well as its appeal to tourists and its ability to thrive across diverse economic sectors, leveraging technology and effective management. Additionally, it serves as a hub for emerging enterprises, particularly in high-tech fields, such as clusters and research centers (Ghalehteimouri et al., 2021; Gholami et al. 2022; Mousavi et al. 2023). According to research, the talents, aspirations, motivations, dreams, and creativity of citizens are gradually overshadowing traditional city advantages like location, natural resources, and market proximity. The creativity of city dwellers and leaders is essential for ensuring the city's future success. As cities expand and become more complex, urban management faces challenges, turning cities into testing grounds for a wide array of technological, conceptual, and social solutions to growth issues (Azimi and Rezaiee 2021; Frantzeskaki et al. 2024).

This study is divided into several key sections. The introduction provides an overview of the study, while the theoretical foundations section explains the concepts of creativity. The research methodology and study area section details how the ELECTRE-II method was applied to assess creativity in Tehran. The results and discussion section presents the findings of the study, and the conclusion and recommendations section offer insights and suggestions. Tehran is a vital city in Iran, serving as its administrative, commercial, and cultural center (Talkhabi et al. 2022). The city's diverse population, influenced by various cultures and ethnicities, has led to the development of unique cultural norms and behaviors. Tehran's economic diversity, concentration of tourist attractions, and educational institutions have attracted individuals from the creative class. This study aims to explore the level of creativity in the 22 regions of Tehran and identify the regions with the highest and lowest creativity indicators. In exploring the characteristics of a creative city, this study aims to address the following questions:

  • What is the current level of creativity in the 22 regions of Tehran?

  • Which regions show the highest and lowest levels of creativity indicators?

Theoretical foundations

Creativity

Numerous studies have been conducted to define creativity, with past literature incorporating creativity and creation into its interpretation of the concept (Walia 2019; Sidekerskienė and Damaševičius 2024; Ciriello et al. 2024). Creativity is the ability to generate original and meaningful ideas, forms, and interpretations. It is a flexible concept that can adapt to different disciplines and contexts. Definitions of creativity vary among individuals, researchers, teachers, and students, leading to challenges in precisely defining it (Robinson 2008). By focusing on the outcome of creativity, theorists have overlooked the dynamic process that may or may not result in creation (Ciriello et al., 2024; Tayebeh et al. 2023). The Longman and Oxford dictionaries define creativity as "the ability to use one's imagination to generate new ideas, construct things, etc." and "the use of imagination or original ideas to create." Imagination is a key element in the concept of creativity according to these definitions. Creativity appears when imagination is utilized to create something, encompassing principles such as flexibility, innovation, risk-taking, and leadership (Duankhan et al. 2024). Various perspectives have appeared in this field regarding the relationship between creativity and urban development, the role of land development, and enhancing competitiveness by attracting the creative class (Meshkini et al. 2020).

Creative class

Government policy places a strong emphasis on supporting the creative community and fostering the growth of the creative class. Many academic papers have analyzed the results of published empirical studies on the behavior and movement patterns of the creative class in different types of regions. As a result, they offer policy recommendations based on these findings to attract and retain creative individuals (Vitálišová et al., 2020). The creative class considers population to be a key factor in the spatial organization of cities. They are seen as a new form of capital that is more influential and impactful than financial capital, shaping urban spaces. The creative class plays a significant role in the examination of factors influencing urban competitiveness (Amirzadeh and Sharifi 2024; Wijngaarden and Hracs 2024). In Florida, the core of the creative class consists of creative professionals working in various science-based occupations such as modern technology, finance, healthcare, law, and economics. The creative class in any society represents a valuable human resource capable of presenting new scientific ideas, solutions, and innovations to address specific problems (Florida 2002). According to Florida's creative class theory, unleashing creative energies, talents, and individual abilities to build a society aims to harness everyone's knowledge and creativity. Creativity thrives on a continuous supply of resources, and all urban residents, regardless of social or economic status, are seen as sources and contributors to the emergence and expression of creativity (Arcos-Pumarola 2019; Forleo and Benedetto 2020).

Creative city

A creative city is a vibrant city that fosters cultural and intercultural learning, where every resident is confident in their knowledge, skills, artistic abilities, and cultural awareness. The theory of the creative city highlights the qualities that make a city's image more attractive to its inhabitants and create lasting memories (Javdan et al. 2023). According to this theory, creativity is a key aspect of public intelligence, and enhancing one's capacity to generate and develop ideas is seen as a marker of societal advancement. Moezoddin (2021) A creative city embraces cultural diversity and promotes creative expression in various forms on a daily basis. Duxbury (2010) The European Cultural City initiative has played a significant role in shaping the concept of a "creative city." In the 1980s, the European Union designated certain cities as "European Capitals of Culture." However, some scholars argue that the concept of the creative city emerged earlier from competitive efforts to attract investment. 2013 (Sasajima) A creative city is essentially a form and process of urban development that prioritizes creativity. Creativity is seen as a symbolic process within the realm of culture, guiding the creation of new art, ideas, and technologies.

Creative city indicators

To evaluate a city, it is always important to consider indicators and evaluate the proximity to the ideal indicator. An effective tool requires a so-called index. Therefore, Landry 2012 improved the definitions, boundaries, and understandings of a creative city (Cativelli and Teixeira 2024; Yari Hesar and Mohammadi 2024; Doucet et al. 2024).

  • Appropriate infrastructure is required for the reconstruction of the city's economic dynamic, which includes the provision of working conditions and the presence of a diverse and specialized population with a variety of skills.

  • The economic structure is based on growth components and is in line with macro programs (services, culture, new technology companies, etc.).

  • The ability to attract creative and new talent for the city's ever-expanding economy, which necessitates diversity and space for innovation.

  • An urban space that allows the formation of communities and public spaces to identify young talent.

  • Very well-shaped urban structure that adapts to various behaviors; those who are in tune with the world's day-to-day activities are in the best position.

  • A strong social structure that is appealing to people and businesses, is conducive to the city's economic growth and causes the city to be endogenous.

  • Urban living conditions provide security and tranquility to citizens and with less crime, social polarization, and poverty

However, Richard Florida in his research on urban creativity reached the point that there are three main factors in urban creativity (Table 1)

Table 1 Richard Florida’s factors for urban creativity
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Florida also introduced the Creativity Index, which measures the concentration of artists, writers, actors, designers, musicians, directors, painters, sculptors, and photographers in a specific area. This index accurately quantifies art creators using reliable statistical data. Florida argues that cities should prioritize supporting vulnerable populations over investing in infrastructure or industrial development. The success of creative cities hinges not only on attracting the creative class, but also on fostering an environment that encourages creative individuals to contribute to innovative economic endeavors, such as generating new ideas, launching successful businesses, and promoting regional growth. Florida emphasizes the importance of attracting talented individuals rather than solely focusing on physical infrastructure or industrial projects. The evolution of creative cities relies on both attracting the creative class and engaging creative individuals in innovative economic activities, leading to the development of new ideas, successful businesses, and regional prosperity (Table 2 and Fig. 1).

Table 2 Detailed creative city indicators from Florida
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Fig. 1
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Planning processes in order to achieve a creative city. Source; Mousavi 2014

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The concept of the creative city, originating in the late 1980s, emerged as a response to global changes and the need for city managers to restructure urban areas. By the early 1990s, the concept gained traction, emphasizing the untapped potential of each region. In recent years, the idea of the creative city has garnered significant attention from experts, researchers, and decision-makers (Lotfi, 2016). Academic and political studies have focused on major cities and metropolises capable of meeting diverse demands from people and activities, with a growing number of papers exploring creative city policies. Technology, knowledge, and creativity are identified as key drivers of this trend in the literature (Table 3).

Table 3 Identification of urban creativity indicators from international studies
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Existing literature on urban creativity in Iran primarily concentrates on major cities or metropolitan areas, with a specific focus on urban competitiveness. These studies highlight urban creativity using various indicators, with a predominant emphasis on human capital and socioeconomic progress. (Ghalehteimouri et al., 2021; Hamidi et al. 2021; Amini Gheshlaghi et al. 2021), (Table 4).

Table 4 Identification of urban creativity indicators from Iran urban creativity studies
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Area of study

Tehran, the capital city of Iran, is known for being one of the most densely populated cities in the world. It ranks as the 24th most populous city globally and is the largest city in North Asia. Situated in the Middle East, Tehran is surrounded by the Alborz mountain range to the north, the Rey and Bibi Bishahrbanu Mountains to the south, and the flat plains of Shahriyar and Varamin to the north. The city is intersected by two main rivers, the Karaj in the west and the Jajrud in the east, along with seasonal rivers like Jafarabad or Darabad (Shahabad), Darka, and Kan, all flowing from north to south. As per the 2016 census, the population of Tehran metropolis across its 22 districts is approximately 8,693,706, with a growth rate of 1.7% and covering an area of around 716 square kilometers (Fig. 2).

Fig. 2
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Tehran Metropolitan area

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Application of methods

The descriptive-analytical method was used to conduct this cognitive research. Data was collected using the documentary-library method. A portion of the required data was obtained through library research and referrals to municipal departments, as well as the 2016 general population and housing census results. Table 5 shows 28 indicators of the creative city extracted and compiled for Tehran regions based on previous theoretical studies and research. The ELECTRE methods, such as ELECTRE-II, have played a crucial role in tackling complex decision-making situations. They provide structured frameworks for evaluating alternatives based on multiple criteria, offering a systematic approach to handle uncertainty and subjectivity in decision-making processes(Akram et al. 2021; Balali et al. 2014). Decision-makers can consider various criteria and preferences with these methods. ELECTRE-II incorporates concepts like concordance and discordance thresholds to generate preference rankings that reflect different levels of agreement and disagreement among decision-makers. While these methods are effective, additional research and comparative studies are needed to improve their applicability and robustness across different domains and decision contexts (Mousavi et al. 2017).

Table 5 Identification of the creative city
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The status of indicators is then evaluated using the ELECTRE decision-making model, and the situation in the regions can be assessed using GIS software, along with the magnitude of facts and events in this domain. The ELECTRE method, developed by Bernard Roy to address the limitations of traditional decision-making methods, is widely recognized as a top MADM technique (multidisciplinary decision-making model(Haider et al. 2015). It is a compensatory model. ELECTRE is a method used to determine and select the best option. Similar to other decision models, it is utilized to choose the optimal alternative from a range of options. The ELECTRE method involves the use of both quantitative and qualitative indicators, which are compared in pairs to establish rankings. A combination of options, indicators, and preference values are incorporated into contractual expressions for multi-attribute problems. (Rezvani et al. 2023).

Findings

In this section, data are analysed to examine the current situation in the Tehran Metropolitan Area using creative city indicators and the ELECTRE Decision-Making Method.

Implementation steps of this model

Step 1: In this step, the values of the problem decision matrix are descaled by using the Norm. We call this matrix N, as it shown in Eq. 1.

$$\begin{array}{cc},\;n_{ij}=\frac{a_{ij}}{\left[\sum_{i=1}^m\;a_{ij}^2\right]^{\displaystyle\frac12}}&N\;=\left[n_{ij}\right]\end{array}$$
(1)

Second stage based on atrophy shannon

Step 3: In this step, using the W matrix (weights of indicators) and the following equation, we obtain the "weighted unscaled matrix" as it shown in Eq. 2.

$$\begin{array}{cc}W_j\;=\frac{d_j}{\left[\sum_{i\;=\;1}^n\;d_j\right]}&V\;=\;N\;\times\;W_{m\;\times\;n}\end{array}$$
(2)

 = is a weighted unscaled matrix.

〖W = 〗 _ (m × n) is the diagonal matrix of the weights obtained for the indices.

Step 4: In this step, all options for all indicators are evaluated and a set of "coordinated and uncoordinated matrices" is formed. The coordinated set of options k and I, denoted by "Sk", i. It will include all the indicators in which the "Ai" option is more desirable than the Ak option. To find this desirability, one must pay attention to the type of decision-making indicators in terms of having a positive or negative aspect.

that's mean:

If the index has a positive aspect, we have: Sk, I = {j | xkj ≥ xij}, j = 1,…, m

The inconsistent set Dk,i also contains the indices in which the Ak option is less desirable than the Ai option, namely as it shown in Eq. 3.

$$D_{k,\;I}\;=\left\{j\vert Vkj\;<Vij\right\}\;,\;j\;=1\;,...,m$$
(3)

The inconsistent set Dk,i also contains the indices in which the Ak option is less desirable than the Ai option, presented in Eq. 4.

$$Dk,\;I\;=\left\{j\vert Vkj\;<Vij\right\},\;j\;=1,...,m$$
(4)

This formula is for positive indices and for negative indices we have presented in Eq. 5.

$$Dk,\;I\;=\left\{j\;\vert\;Vkj>Vij\right\},\;j\;=1,...,m$$
(5)

Step 5: In this step, we obtain the coordinate matrix from the above information. This matrix is a square matrix m × m whose diameter has no element. The other elements of this matrix are also obtained from the sum of the weights of the indicators belonging to the coordinated set. that's mean in Eq. 6.

$$\begin{array}{cc}I_{ki}\;=\sum W_i&j\;\in\;A_{k\;i}\end{array}$$
(6)

This criterion (Iki) indicates the relative importance of Ak to Ai. The value of this criterion is a number between zero and one, and the higher this value, the more Ak is preferred to Ai, and vice versa.

Step 6: In this step, the unmatch matrix is calculated. This matrix is denoted by NI and, like the coordinate matrix, is a m × m matrix. The original diameter of this matrix has no element, and the other elements of this matrix are obtained from the unbalanced rhythmic matrix.

These elements are obtained according to the following Eq. 7.

$${\mathrm{Ni}}_{\mathrm{ki}}=\frac{{\mathrm{Max}\vert\mathrm V}_{\mathrm{kj}}-\mathrm{Vij}\vert,\;{\mathrm j\;\in\mathrm D}_{\mathrm{ki}}}{{\mathrm{Max}\vert\mathrm V}_{\mathrm{kj}}-\mathrm{Vij}\vert,\;\mathrm j\;\in\;\mathbf{ALL}\boldsymbol\;\mathbf{INDICATORS}}$$
(7)

This criterion measures the ratio of the inadequacy of the matched set k and I to the total unmatch in that index.

Step 7: In this step, the effectively matched matrix is calculated. This matrix is denoted by H. To create this matrix, a threshold must first be set, and if each element of matrix I is greater than or equal to it, that component in matrix H will take on a value of one, otherwise, it will take on a value of zero. Past information and the opinion of the decision-maker can be used to determine the threshold.

A general criterion for determining this limit is the mean of the values of the matrix I (ie., Ī).

$$\overline{\mathrm I}\;=\;{\textstyle\sum_{\mathrm i=1}^{\mathrm m}}{\textstyle\sum_{\mathrm k=1}^{\mathrm m}\;\mathrm I}_{\mathrm{ki}}/\mathrm m\left(\mathrm m-1\right)$$
(8)

Then

$$H_{ki}=1\leftarrow I_{ki}\geq\overline I\;\;\;\;if$$
$$H_{ki}=0\leftarrow I_{ki}<\overline I\;\;\;\;if$$

This matrix indicates the preference of one option over another.

Step 8: In this step, we obtain the effective unmatched matrix. This matrix, denoted by G, is obtained like an effectively matched matrix.

The threshold for this matrix is calculated as follows.

$$\overline{\mathrm{NI}}\;=\;{\textstyle\sum_{\mathrm i=1}^{\mathrm m}}{\textstyle\sum_{\mathrm k=1}^{\mathrm m}\;\mathrm{NI}}_{\mathrm{ki}}/\mathrm m\left(\mathrm m-1\right)$$
(9)

Then.

$${\mathrm G}_{\mathrm{ki}}=0\leftarrow{\mathrm{NI}}_{\mathrm{ki}}\geq\overline{\mathrm{NI}}\;\;\mathrm{if}$$
$${\mathrm H}_{\mathrm{ki}}=0\leftarrow{\mathrm I}_{\mathrm{ki}}<\overline{\mathrm I}\;\;\;\;\mathrm{if}$$

Step 9: In this step, by combining the effective matched matrix (H) and the effective unmatched matrix (G), the "effective total matrix" (F) is obtained. The calculation of this matrix is as follows:

$${\mathrm F}_{\mathrm{ki}}\;=\;\mathrm{Hki}\;\times\;\mathrm{Gki}$$

This matrix shows the order of superiority of different solutions over each other;

That is, if Fki = 1, we can say that Ak is preferable to Ai. Of course, this preference may be influenced by other strategies. So the condition that Ak be the preferred option in the above method is that

$${\mathrm F}_{\mathrm{ki}}\;=\;1\;\mathrm{and}\;\mathrm{for}\;\mathrm{minimum}\;1$$
$${\mathrm F}_{\mathrm{ki}}\;=\;0\;\mathrm{for}\;\mathrm{all}\;1$$

Final Step: Eliminate Low Gravity Options Any column in H that has at least one "element one" can be removed, then decisions can be made based on the other rows.

Based on the data in, Tables 5, 6, 7, 8, 9, 10, 11 and 12 we can begin to create a map that shows Tehran's overall urban creativity across different regions. It demonstrates that these regions have not applied and comprehended creativity in the same way. As a result, Tehran's northern neighbourhoods are more creative than the city's southern neighbourhoods.

Table 6 Tehran regions status based on the selected indicator
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Table 7 Tehran regions status based on selected indicator (counties 6)
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Table 8 Weighting indicator
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Table 9 Coordinated matrix
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Table 10 Coordinated matrix continued from Table 9
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Table 11 Effective mismatch matrix
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Table 12 Continuation of Table 11
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The final ranking of each area based on the creative city indicators is shown in Fig. 3. The spatial distribution of creative city indicators in Tehran areas reveals that 7 regions (5–8-11–13-14–15-20–22) are in good shape, while 7 regions (9–10-16–17-18–19-21) are in poor shape. According to the findings, only seven regions of Tehran (1–2-3–4-6–7-12) have favourable conditions when compared to the creative city indicators. In fact, two regions are one or six times more favourable than other Tehran regions, but regions 9, 17, 10, and 16 are in unfavourable conditions when compared to creative city indicators and have a higher planning priority.

Fig. 3
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Tehran regions ranking based on studied indicators

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Tehran city areas have been prioritised separately for each dimension of the creative city, as shown in Table 12. The findings show that the regions (2–4-5–15) had favourable conditions in the dimension of human capital, which had three indicators, whereas the majority of the regions did not. In terms of innovation, which is measured using four indicators, roughly 60% of the regions experienced unfavourable conditions, while region 6 experienced favourable conditions. The general condition of the regions was average in the social capital dimension, which had four indicators, with 25% of the regions in unfavourable conditions and the remaining regions (19–14-14) in favourable conditions (Table 13).

Table 13 The situation of metropolitan areas of Tehran in relation to each of the dimensions of the creative city
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Tehran city areas have been prioritised separately for each dimension of the creative city, as shown in Table 12. The findings show that the regions (2–4-5–15) had favourable conditions in the dimension of human capital, which had three indicators, whereas the majority of the regions did not. In terms of innovation, which is measured using four indicators, roughly 60% of the regions experienced unfavourable conditions, while region 6 experienced favourable conditions. The general condition of the regions was average in the social capital dimension, which had four indicators, with 25% of the regions in unfavourable conditions and the remaining regions (19–14-14) in favourable conditions. When compared to this index, four regions (2–4-5–15) have favourable conditions, ten regions have average conditions, and eight regions have unfavourable conditions in the physical dimension, which has three indicators. The following maps depict the spatial distribution of each dimension of the creative city in Tehran neighborhoods (Fig. 4A to G).

Fig. 4
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A Ranking of Tehran regions based on human capital dimension. B Ranking of Tehran regions based on the dimension of innovation. C Ranking of Tehran regions based on social capital dimension. D Ranking of Tehran regions based on environmental dimension. E Ranking of Tehran regions based on cultural and tourism dimension. F Ranking of Tehran regions based on economic dimension. G Ranking of Tehran regions based on physical dimension

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Conclusion and recommendations

The concept of the "creative city" has emerged as a strategic approach in urban planning, thinking, and implementation in contemporary urban development. Given the significant changes in urban environments, the creativity of city officials, business owners, and residents plays a crucial role in addressing various urban challenges. The key to addressing these challenges lies in fostering and nurturing creative cities. By creating attractive environments that cater to the needs of creative individuals, cities can become vibrant hubs for study, work, and innovation. Enhancing the aesthetic appeal of urban spaces not only adds to their vitality and economic value but also fosters a sense of identity and attractiveness, ultimately leading to the formation of a creative city. Proper management of neighborhoods and urban spaces is essential in this process. This study aimed to assess the feasibility of establishing Tehran as a creative city based on its unique characteristics and components. Through the use of the ELECTRE model, 22 districts in Tehran were ranked, with districts 1 and 6 emerging as the most creative, followed by districts 17, 16, 10, and 9. While Tehran shows promise as a creative city, addressing existing weaknesses and barriers, along with implementing culturally sensitive urban planning, is essential for realizing this potential. By developing cultural and educational initiatives that focus on understanding socio-cultural dynamics and addressing urban challenges, Tehran can pave the way for becoming a thriving creative city. Now, in this section, the researcher has presented recommendations for the realization of the Tehran metropolis's creative city based on the obtained results:

  • Efforts to create efficient and entrepreneurial management by updating information to meet citizens' needs and employing competent management for planning to increase investment in projects related to the creative city. Use of integrated management in implementing and enforcing cultural and social laws throughout the city, creating recreation centers based on the region's potential, and recognizing ecotourism attractions.

  • Identifying citizens' welfare and recreational needs with their participation, planning for research centers' development, and organizing creative and specialized forces efficiently. Strengthening scientific, technical, and educational facilities as a platform for new ideas to flourish until implementation. People's operational actions, especially those of the creative class, are crucial for cities' creative development.

  • Planning to support the creative class, evaluate their innovations, apply creative ideas in governance and urban management, essential for a dynamic knowledge-based economy. Paying attention to cultural industries rooted in Iranian Islamic culture for urban economic prosperity, replacing the rent economy with the cultural economy in cities.

  • Implementing comprehensive programs to increase mutual awareness of contemporary art with traditional culture and accurately explain the concept of the "creative" city of Iran. Focusing on creative metropolitan policies for people, preventing cross-cutting policy implementation and continuing programs.

  • Creating and consolidating research and educational programs to develop human resources and elevate the creative class rate in urban areas. Establishing mechanisms to strengthen small art companies and creative and media businesses. Introducing changes in educational hardware and software infrastructures to enhance ideas, innovations, and creativity in educational settings. Strengthening intra-city public transportation networks to reduce citizens' time wasted in urban traffic.

  • Designing human-centered, lively streets and sidewalks based on the society's cultural and social characteristics. Preserving Iran's identity, cultural and historical heritage in Tehran, reviving, restoring, and integrating them with new urban architecture based on Iranian cultural values.

  • Developing virtual communication networks and increasing international interactions with successful and creative cities worldwide to attract attention among residents of other cities. Effective advertising to showcase cities' environmental and natural capabilities through mass communication networks and media.