Understanding and gaining practical experience and how to improve the performance of the design process is one of the priorities to the design disciplines. The design process is a complex journey with social influence to explore and discover new approaches. (Cross, 2011). With the participation of second year undergraduate students of the Special Program of Furniture Design Science, the design process adapted by the professors was the core of the Islamic furniture design studio course and the integration of applying reformed vernacular design in a real piece of furniture. The implementation of the adapted design process was applied on all of the students; however, the analysis of the Muqaranas group was put under speculation for the case study in this paper. Students were asked for a real-world project that aided them to build an understanding and acquire knowledge to improve their own professional grounds and drive them out of their personal comfort zones to professional growth zones. They chose Islamic architectural elements as new ornamental elements that have similar effect within the limit of Islamic values, in order to present new ornamentation grid. Then applied the new grid in models of furniture as a real-world application to produce the new visualization as a contemporary Islamic ornamentation. This paper will present a case study at the Special Program of Furniture Design Science in the areas of concern which were supported by a collective approach to design projects that participants are able to inhabit. In addition, student groups' models that reflect the impact of the heritage on contemporary furniture design and establish the practical experience will be presented. The aim is to influence inexperienced students with limited professional resources to gain practical experience to come up with productive ideas for furniture design/production in spite of their limited boundaries.

Color is one of the most dominant tools for designing compelling environments. It holds aesthetic value and has significance when assessing design elements. Color is the design element that charms us, emotionally and mentally, and is considered the most influential instrument in the hands of the designer as it is permanently stored in our memory. Colors are fundamental features of our visual sensitivity and environmental experience. In addition, it has the power to attract people to space and it is used to encode the place by linking the color to certain brands in complex globalized networks. To reflect, an increase in branding has been one of the most effective marketing phenomena nowadays, and has been included in most commercial business' strategies. Branding places today has been modified deeply from the perspective of identity and image viewpoint. The overall design of a building and its spaces should reflect a clear purpose; moreover, it is beneficial to establish controlled and reliable rules and hidden agreements between the brand and client through color. This paper questions; How brand design creates a lasting appearance that bridges today with where the brand will grow over time? What is the color brand strategy to create place identity and space communication? How branding feeds into globalization, which has become significantly relevant, increased market entry, and efficiency of international travel? Since the relationship of color to space is one of the main objectives of active design to create a suitable agenda for specific functions, a thorough theoretical examination of the mental and physical impacts of color has been conducted, and an analytic study of the branding of companies specialized in providing mobile phone services in Egypt has been incorporated. The objective of this is to facilitate the bridging of emotional connections between clients, cities, and regions to accelerate brand growth and integrate color as a branding principle in Interior Design.

Design education is the most important and crucial stage in a designer's preparation. The design studio is also the starting point in the process of teaching design students how to deal with the issue of identity. The paper discusses the major academic objectives and methodologies that were employed to explore the potential of cultural and architectural heritage as a valid platform for design education. The paper explores cultural schema through cognitive aspects by applying an empirical study and identifying the opportunities and constraints. The wider goal is to expand the boundaries of interior design, highlighting the role of interior design education in preserving our diversified traditional culture and the continuity of the local identity through achieving an innovational design. Under the monitoring to the final year interior design students, the empirical study was part of the design studio course. The effects of integrate elements extracted or derived from local identity into modern designs in their graduation project process through cultural schema theory are examined. As a result, a conceptual framework for discussing educating towards local identity is created, model that highlights the gaining of clear knowledge of design. The framework describes how students interpret the cultural meaning through interior design by adapting cultural schema theory. This was achieved by the following methodology; literature review in three main topics (cognitive, cultural schema that is forced to change or accommodate new information and design education) was applied. Moreover, this paper follows an empirical study methodology with an in-depth analysis of the data.

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