The impact of Thailand’s striving after economic transformation is giving rise to the notion that the only way to be truly creative was to be different—making things new, original, and unexpected. Novelty has become the new aesthetic and the yardstick of creativity, even in historic conservation practices. New development strategies and programs are introduced and implemented continually in order to promote economic growth. In parallel, much traditional cultural heritage and its vulnerable setting are disappearing rapidly due to the prevailing modern lifestyles and social change. Settlements in World Heritage Sites and the old city of Rattanakosin are now under heavy development pressure to replace traditional buildings, landscapes, and communities, by new construction projects and tourism developments which are not very sympathetic to the surrounding area, as well. ‘Destructive Creativity’ extols speed, force, and violence. In cultural heritage conservation practices, it can be a blind, amoral, and destructive force, which pushes us forward to an artificial whole, racked with tensions and contradictions. This must be tempered with another form of creativity—a clear perception of the situation as a whole, of where things are moving and how they will evolve—‘the creativity of healing and making things whole.’