The seamless interplay between art and technological advancement from the late 19th to the mid-20th century is the focus of this article, which examines the influences of pivotal art movements such as Cubism, Art Nouveau, Abstract Art, and Futurism on design inspiration. Through an analysis of the works and methodologies of notable figures like Pavel Janák and Giacomo Balla, the study highlights the symbiosis between the evolution of art and the innovations of the contemporary technological landscape. These movements mirrored their times, from Cubism’s analytical breakdown of form corresponding with industrial fragmentation, to Art Nouveau’s organic motifs that contrasted against mass production, and from Abstract Art’s introspective dive coinciding with psychological advances, to Futurism’s celebration of dynamism in tandem with the era’s mechanistic obsession. Insights gleaned affirm the integral role of technological progress as both catalyst and canvas for artistic expression, culminating in a legacy that provides a foundation for ongoing creative dialogue in the face of the digital age’s new technological frontiers. The article proposes that the narrative of Modern Art is not solely a historical recount but a continuous inspiration, influencing future design and innovation.

"Art and Crafts Movement" and its subsequent "Art Nouveau" were among the events that took place in the west at the end of the Qajar era and soon brought about changes in the applied arts of Iran, including design and printing. The first banknotes printed in Iran, in addition to expressing formal and technical features, display excellent capabilities in reading the quality of the developments of the Art and Craft Movement and Art Nouveau. Since the printing stereotypes of these banknotes were the result of Western culture and art and they were directly used in the printing of the first Iranian banknotes, it is possible to identify part of the result of the Art Nouveau movement in Iran and the design principles of the first banknotes from the beginning of their publication in the Qajar era. In addition to introducing the first banknotes published in Iran, this research aims to review the design method and principles of illustration used in these works, taking into account the principles of "Art and Crafts Movement" and "Art Nouveau". This research is based on qualitative studies and its descriptive-analytical in terms of method. The method of collecting information is mainly library-electronic and in some cases field study. The results of the research show that the design of the first Iranian banknotes can be separated into three time groups from the end of the Qajar period to the beginning of the first Pahlavi era that the influence of Art Nouveau occurred most of all in the third group. In this period, under the influence of the art nouveau movement and using the printed stereotypes imported from the west, a kind of fusion between the artistic achievements of the west and Islamic-Iranian art has been formed.

This paper seeks to identify the philosophical origins of the teaching of art and design and subsequently trace its incorporation into a teaching program in the UK. It briefly discusses the nature of its classical ‘drawing’ background and the conflicts in the debate as to what ‘design’ means. It then goes on to identify the cultural and political context which shaped the institutions, such as Art Schools, Regional Art and Design Schools, Municipal Institutes, and finally faculties within the University system. There are some indications of curriculum for the early stages of the Regional Schools and concludes with an indicative summary of the structure of a large University Faculty of Art and Design.

Art-Nouveau movement, as one of the avant-garde movements of the late 19th century in European art and architecture, had a definite impact on the formation of the architecture of the 20th century and the architecture of the modern era. The expansion and diversity of this movement is a characteristic which differentiate it from other artistic movements of the contemporary period. Most critics of art and architecture historians in the West, share the view that the beginning of modern art has its roots in the developments of the late 19th and early 20th century which is called the Art-Nouveau movement. In fact, it should be remembered that Art-Nouveau is not a style, but has a wide range of meanings and is generally applied to all the avant-garde in Europe in late 19th century and early 20th century. The aim of this movement was presenting independent and unprecedented art works which shared “novelty” in common. This school, besides believing in the commencement of a new era and letting the artists free from the past limitations, has brought various and different methods and inclinations in architecture.The observation of some of the contemporary architectural works in Iran (especially in Tehran), which have evidently been under the influence of some of the stylistic tendencies of this movement, shows the vast entry of this western artistic movement into the contemporary Iranian architecture in a special period. Diversities, similarities and differences of these stylistic tendencies are to an extent that makes a comparative study on this period of stylistic tendencies, with the aim of separating and recognising these styles in the contemporary history of architecture of Iran, inevitable. This article tries to come close to a new stylistics of this western architectural movement in contemporary Iran with the help of a comparative analysis of the Art-Nouveau architectural tendencies in the west and a logical comparison of them in Iran. Also in the pursuit of this objective, this article will probe the possibility of classification of these styles in the contemporary architecture of Iran in a definite time period. In order to gain the objectives of this article, we will at first study and criticise the opinions of the critics in recognition of the style and stylistic specifications of Art-Nouveau movement in the backdrop of its formation and then we will classify these styles in the contemporary architecture of Iran by reviewing the examples of architecture influenced by this movement in Iran and by considering the works which have been done in this field. At the end, this article will show that despite stylistic diversity in the architecture of the first Pahlavi era in contemporary Iran, all this architecture is a stylistic sub-category of Art-Nouveau movement. In field of typology of contemporary architecture of Iran, so important attempts have been taken place and all of them are appropriate for scientific appreciate. But regard to architectural stylistic of Art-Nouveau in Iran, as study of an era base on comparative method, in this paper, is absolutely novel and its results are unique. 

The work of architecture is believed to depend on the governing thought in the process of architectural designing.This thought can be analyzed, developed, experienced, and interpreted. Creativity is the only domineering force in the idea of designing which is in quest for freeing architecture from the routine methods, and also finding the novel systems to answer the questions in architecture. Therefore, a special fixed and stable place is considered for creativity.As many believe, the process of designing is so complicated, mysterious, and enigmatic .The process of architectural designing has a structure which is consisted of different steps and its quality and final output depends on designer's content knowledge and creative utilization of that in the format of creative contemplation. The key of creative thinking is the power of creative concepts, which can be classified in that level of designing by the degree of certainty of designer's mind, will have special role. Visionary drawings or Imaginary sketches as one of these categories, in spite of playing a key role in understanding the nature, quality and quiddity of design since they cannot be interpreted by others, are generally ignored by critics and theorists of design process. Also, in the field of architectural teaching, these students ' imaginary sketches are underestimated by architecture professors since they cannot be judged by design principles. While they are suitable means for development of architects ' creativity.These outputs and drawings realize some kind of passage from imagination the visualization in the form of intimate connection.This article seeks to answer what is The nature, status and effect of these works is in the process of architectural design and how it can promote the quality of design ideas and architectural works.the concentration upon visionary drawings is through using manual tools of designing to indicate and analyze the ideas without limitations and to increase the quality of the creative ideas and correct the possible faults of making decisions about designs.the visionary drawings can also be viewed as personal interests of signs .but the theme of symptomatology in visionary drawings is to take advantage of signs to transfer the concepts between the creation and the creator itself. The signs of children are also the result of their attempt in using the symbols as a replacement of the phenomenon. Suchlike the visionary drawings can be similar to children paintings while their art imagination is formed. With this difference that past is in the children paintings and the future is in the visionary drawings.Analyzing and giving recognition to visionary drawings in architecture masters opinion can be a sufficient opportunity to resist theoretical inmost and clear the concerns and the qualitative criteria of design ideas can be prepared for students. We can assume the use of these drawings during the designing trend as innovative tests of architectures. In other words , although these drawings are not creative symbolism of ideas but they are bridges between ideas of designing and the final design.

Great art is the focus of Heidegger's analysis of art in the book "The origin of the work of art, " which has a non-aesthetic value and is the scene of the being of truth. However, modern art represents an aesthetic dominance of art that ultimately leads to the death of great art. Heidegger's view changed after getting acquainted with the works of some modern artists, especially Cézanne and Klee's paintings and the poetry of poets like Rilke, and consequently, he started to analyze modern art from a new perspective. Altogether, modern art also could Provide human habitation in the vicinity of being and solve the homelessness of contemporary man. Therefore, some of these works can be considered great art. The present article aims to examine Heidegger's encounter with some modern artists' works and reveals the consequences of this encounter in changing his view of art in modern times.

The art of the Safavid era, in conjunction with the dominant discourses of society, was not only a tool of power but also a symbolic violence. Many Safavid arts, including carpet, were produced in court workshops and were under the direct support and supervision of the court. It is assumed that the court has somehow tried to reflect its interests and worldview in artistic and cultural productions. The motifs, symbols and signs in the carpets of urban style are reflection of the dominant discourses of society and also show the relationships in society, as well as values and norms in it. The research is qulalitative and historical with an analytical descriptive method. it has explained the function of discourse and manifestations of symbolic violence in urban carpet field. The theory used is pierre Bordieu’, s symbolic power Theory. This method helped us to understand special superviosion and attention to quality and production and usage of culture and art by Safavid to develop and deepen its discourses has led to formation of specialized fields in various fields especially new field, Symbolic violence is also the result of the formation of this specialized and allows the artist to create art in a way that conditions of the field of power require.

In this paper tries to point to genesis of Modern Art and its features and aspects Based on an academic approach, and also styles that will impact on this timeframe.Evolutions that occurred in the second half of the nineteenth century in Industry (Including the invention and evolution of the photography industry since 1839), science, philosophy, economics and politics have influenced the thoughts and ideas of modern artists.Multitude of artistic styles those are characteristic of modern art was dominant art the late nineteenth and early twentieth century.Usually the history of modern art is defined based on the modern art movements; Impressionism, Cubism, Futurism, Expressionism and Surrealism as the artistic styles that Put a great Effects on modern art.With An Overview of this styles and Referring to their influences and also effective artists, we will analyze the reasons for their rise and decline.

Intracytoplasmic sperm injection (ICSI) is one of the most successful techniques of Assisted Reproductive Technology (ART) and is mostly in use for the treatment of infertility with male factors. In this method, before injecting sperm into the intracytoplasmic of the oocyte, cumulus cells around the oocyte must be stripped to facilitate the injection process. To achieve this, both enzymatic and mechanical methods are used in embryological laboratories for denudation, which has major deficiencies, including the possibility of damaging the oocyte prior to the injection process. In this research, a microfluidic-based device is introduced for the separation of cumulus cells around the oocyte with minimum manual operations. The results prove high efficiency, and non-destructive denudation of the oocyte with the reduced amount of culture medium leads to the low-cost preparation process of oocytes. The process can also be integrated with ICSI chips under development and will be reported shortly.