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Design spaces can be read in two complementary structural and compositional dimensions: the implicit dimension, and the formal dimension. This study aimed to answer the following questions: What are the phases of the original idea transformation in the design process? Does taking advantage of the implicit dimension of others' interior spaces count as inspiration or plagiarism? Participants comprised nine postgraduate students, who were asked to copy others' project ideas by applying four design phases: idea source, test, choice, and output. The results showed that plagiarism of the concept of others' work could not occur unless the concept copies the structural, functional, and aesthetic aspects of the design space at the level of its components and the relationships between them. Otherwise, taking advantage of the implicit dimension of others' project ideas can be an inspiration. The results are expected to increase awareness among interior design instructors in higher education.

This study aims to remove some of the ambiguities of visual plagiarism in interior design (those related to the visual composition of space represented by line, form, shape, texture, time, colour, light, etc.) by examining the main detection methods, the extent of the issue, and the experiences and roles of academic interior designers. Two main methods were used: an analysis of the primary forms of visual plagiarism and an applied approach to test the effectiveness of plagiarism. Additionally, 30 academics in the Kingdom of Saudi Arabia, who majored in interior design, were surveyed using an online questionnaire. The results demonstrated that changing the light and colour while maintaining the rest of the properties and changing the line, form, and shape are considered visual plagiarism. However, the results also indicated that visual plagiarism is not always clear for academics. It is hoped that the results of this study will increase the awareness of visual plagiarism, enhance ethics in the university environment, and help academic interior designers apply scientific methods to detect plagiarism in design projects. This study can also assist regulatory authorities to manage complaints and disputes in plagiarism cases.

Rowshan is a distinctive architectural element and a primary component of the façades of traditional houses in western Saudi Arabia. It is window type primarily made from wood and is incorporated in contemporary architecture to express the identity of the Hejazi architectural heritage without the realization of the advantages of this rich architectural element. This study examines the Rowshan design philosophy by identifying its visual, functional, and structural determinants, and applying them to a model to reflect it in a modern context. The study adopts an analytical approach in addition to interviewing elders who lived in traditional houses. The results show that the Rowshan philosophy must apply all its structural, functional, and aesthetic characteristics like seating function, privacy, visual continuity, use of light, exploitation for shade, and the use of ornamental patterns and, openings, while adopting modularity, flexibility, and adaptability as important principles in its composition. This design philosophy can be a fundamental resource for creative designs to preserve Hejazi architectural identity. This study aims to renew interest in Rowshan elements in contemporary houses in the Mecca region and highlights the advantages of this unique architectural element by applying the Rowshan design philosophy. [ABSTRACT FROM AUTHOR]