As a designer, I always was wondering why boxes are playing a more significant role in the world of architecture and design and how they are still stable in architecture in spite of several mental and technological variations and why they encountered few specific, repetitive and anticipatable changes. Still, when we talk about skyscrapers, most people think about a glass cube. When we want to design a residential apartment, it normally starts with a box so we work on a box. In spite of existence of creative and variable ideas, plans and concepts designed and experienced in authentic universities by creative and avant-garde architects all over the world, why few changes are observed in viewpoint of architects, people and those involved in construction profession? Why do such people enjoy from watching a spatial city or a ship made of strange volumes in a fiction movie? Why are they excited? Why do they tell it to each other while they, themselves, live and work inside inanimate boxes? Why do changes or effects in architecture progress slowly while the avant-garde ideas are being put in practice in technology, cinema, medicine, etc.?In this anthology, challenged my architectural conception and creativity borders, repeated many times the samples of works of different art and architecture universities, especially sculpture, and what studied in the books on "recognition of form and space" in form of architectural design and form, sketched and studied their design and though method, created my experiences in a new form with a new attitude, and added my story to previous works. Hope this book can emphasize on a creative and dynamic thought to use what we have not as holy and unchangeable signs rather as opportunities to change and evolve and use our mental box as an excuse to pass the borders beside endeavors and works of artists and thinkers of different fields.Ali Khiabanian