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The furniture design field is full of many different styles and trends, which are varied and developed throughout the time and the tastes change. It is necessary to search for innovative design concepts and strategies to maximize the use of these trends to create contemporary vision. Therefore, the research is interested in the eclecticism philosophy in the contemporary furniture upholstered with printed fabrics, which includes many artistic trends and mixes them together uniquely. The upholstered furniture piece is an artwork that includes consistent parts to form the final product. The printed upholstery fabric is a main element in designing the upholstered furniture, as it affects the design idea and identity. The research problem is to find a specific strategy to apply the eclectic thought in the design of furniture with printed upholstery fabrics, and reduce the separation between the furniture designer and the textile printing designer, as each of them works separately. This separation is one of the most important reasons for the insufficiency of the final design of the furniture with printed upholstery fabrics in Egypt. The eclectic furniture design process is chaotically without a clear strategy. Therefore, the research aims at improving the upholstered furniture designs through achieving cooperation between furniture designers and textile printing designers to design unconventional and unique furniture pieces. We depend on eclectic thought to select and mix among various trends in furniture design and printed upholstery fabric. Both researchers develop a strategy for designing furniture with printed upholstery fabric based on the eclectic thought to reduce the gap between furniture designer and textile printing designer. Also, this strategy was applied to create design ideas for many furniture pieces with printed upholstery fabrics depending on the eclecticism philosophy. We have stated this design strategy as rules to help furniture designers and textile printing designers to cooperate with each other, and mix furniture design with printed upholstery fabric in a consistent form away from the chaos.

Nostalgia is considered one of the most important concepts affecting the polarization of tourism, as it represents a strong motivation for the tourist to choose his/her travel destination in the first place, and to repeat his/her experience in the second place. The tourist seeks to temporary escape from the present reality to find a unique experience, and to relive it again and again. Egypt has an ancient civilization and a rich heritage that gives it a competitive advantage to create a Stimulating environment for tourists' nostalgic feelings. In this context, it is a must to design a style that confirms the Egyptian identity not only in the external architectural form, but also in the interior design components of touristic hotels and resorts to make a qualitative leap in the design of Egyptian Tourism establishments. The research problem depends on searching for novel solutions to revitalize the tourism sector in Egypt especially after the coronavirus pandemic that has caused tourism stagnation around the world. Here comes the essential designer's role to link civilization, heritage and the arts together for enhancing sustainable tourism development, so the designer links the legacy of the past with the requirements of the present. The research aims to establish a design vision for hotel rooms that endures an exact Egyptian heritage feature in details as a past duplicated. The research supposes that the integration between the interior design and textile printing design for coping the interiors and textile designs of ancient Egyptian ears and simulating the historical reality, will create a concrete experience makes tourists coexist with Egyptian heritage items, lefts a deep impression in themselves, evokes satisfaction and increases their attachment with the place. The researchers innovate a design idea for a hotel room based on simulating the reality of Egyptian heritage, concerning the philosophy of nostalgia as a partial perception of research idea.

Subjectivity is an essential aspect of design as an artwork. It expresses the designer's authentic style, which involves his/her paths and engagement throughout the design process. Printed hanging textile design in particular requires a high degree of uniqueness, personality, and artistic sense that are mainly reflected through the designer's subjective vision and interaction with the textile material. Traditional textile printing techniques provide vast potential to enable this interaction and enhance the emergence of the designer's authentic perspective. On the other hand, AI technologies have revolutionized the art and design fields by facilitating complex processes and improving productivity and efficiency. The textile designer needs to keep pace with technological advancements and achieve maximum benefits from them. Thus, the current study discusses the integration of the designer's subjective and creative perspective with the wide potential of AI technologies. The researcher establishes an approach in this regard in the printed hanging textile design field. It is based on creating original designs using traditional textile printing techniques and utilizing AI technologies to generate various possibilities for these source designs. Ultimately, the applied approach allows for maintaining the designer's subjective vision and utilizing AI potential to save time and effort while improving productivity in the printed hanging textile design.

This study highlights the role of hermeneutics as a philosophical approach to understand and interpret hanging textiles design as a type of artworks. Hermeneutics explains what is said in a strange language to others' awareness in what is known as the art of interpretation and perception which has developed from Schleiermacher to Gadamer including the elements of interpretation, understanding and dialogue. These elements depend on overcoming the alienation of aesthetic consciousness and reducing the gap between recipient and artwork as each artwork is created to say something and express a conceptual idea. Its interpretation depends on the wading in its parts and accepting its aesthetic truth and feeling. Depending on hermeneutic circle which includes relation between the whole and the parts, it will be possible to understand the whole of a hanging textile design by getting closer to it to reveal the aesthetics of its details. In this study, hermeneutic process or in other words hermeneutic in art is not just reading the meaning or evaluating the hanging textile design but rather it is an intuitive and transparent process which depends on entering the world of a hanging textile by considering the intellectual and unconscious processes through which the artwork is created. Thus, without the hermeneutic thought in art, the hanging textile will fall into nothingness once the instant admiration of it is over. Also, hanging textile will turn to be just a rag full of colors with a thousand barriers of vagueness and ambiguity separating the recipient from understanding and assimilating it.