as Vartan Hovanessian, Ali Sadegh, Mohsen Foroughi, Paul Akbar, Gabriel Guevrekian, Heydar Ghiai, Abdolaziz Farmanfarmaian and Hooshang Seyhoun are examples of this movement. Later, in the mid-1960s, Ali Sardar Afkhami, Kamran Diba and Nader Ardalan are among those Iranian architects who have opened their design approach to the history and traditions to represent a trend of Iranian Post-Modernism. Attention for the new trends in international architecture, is being carried out by Iranian architects, even after the Islamic Revolution. Like most architectural milieu of the world, in the 1980s the experiments on the transition from post-modernism to new developments, has influenced many Iranians architects, in architects such as , , and Darab Diba. In this context, It is of interest the attempt by some architects like Abbas Gharib or Bahram Shirdel to go in deep within the most advanced theory and trends in contemporary and Post-contemporary architecture, such as the theory of Complex systems in architecture in the case of Gharib and folding theory in the case of Shirdel. These experiments are valid methods and contribution to liberate architecture and design, from abstraction, flatness, stiffness, forced rectangular and Heterotopia of the modernist spaces for a more fluid, flexible, soft and dynamic architecture, open to the complexities of its environment and context Music movement Simultaneous with the constitutional revolution in Iran, young musicians sought new forms of music to synchronize with the tide of social changes. In 1937, Tehran's Symphonic Orchestra started working and performing western as well as Iranian music. The 1979 revolution launched a renaissance in Persian classical music. The emergence of three ensembles, the Aref Ensemble, the Sheyda Ensemble and the Masters of Persian Music revolutionized Iranian music during the late 20th century and at the turn of the millennium. New figures emerged in Persian Symphonic Music, and several symphony orchestras started their work despite a lack of support from national governments or international bodies. The new wave can be characterized by growing interest in using both Iranian and European instruments and musical genres. Perhaps the best examples are the Melal Orchestra and the National Iranian Symphony Orchestra. Folk music also enjoyed the emergence of figures such as Sima Bina and Kamkar. These musicians introduced Iranian folk music (Khorasani, Kurdish, Bandari, Mazandarani music, among others) to the international community by organizing numerous concerts worldwide. Letters Literary criticism and comparative literature in Iran entered a new phase in the 19th