#Fluting Patterns

[stoneartbyskl]

Best Modern Patterns in Decorative Wall Cladding: A Complete Guide

Modern patterns in decorative wall cladding have become a key element in contemporary design, adding texture, depth, and visual interest to any space. By blending art and architecture, these patterns not only enhance the aesthetics but also create a statement that reflects your unique style. This guide delves into the top modern patterns in decorative wall cladding, featuring Indian Sandstone and Indian Marble, known for their durability, elegance, and versatility.

Top Modern Patterns in Decorative Wall Cladding

Random Wave Design

The Random Wave Design introduces a sense of motion and fluidity to your walls. This pattern mimics the natural flow of water, creating a dynamic effect that changes with the light. For a dramatic impact, use Black or Grey Indian Marble to execute this design.

2. Mint Texture Panels

Mint Texture Panels offer a modern take on traditional cladding with fine lines and grooves that provide a soft texture. This design works beautifully with Beige or White Indian Sandstone, adding a fresh and clean look to any space.

3. Abstract Arch Design

The Abstract Arch Design combines bold curves and sleek lines to create a statement wall. This modern twist on classic arch shapes exudes elegance and sophistication. Enhance this design with Green Indian Marble for a rich, luxurious focal point.

4. Abstract Pattern Wall Cladding

For a bold, avant-garde statement, choose Abstract Pattern Wall Cladding. This design blends various shapes and textures, making it a standout feature in any space. Indian Sandstone in Black or Grey amplifies the impact, ensuring a cohesive yet striking look.

5. Curved Fluted Blocks Design

The Curved Fluted Blocks Design adds depth and dimension to your walls. Curved flutes create shadows that shift throughout the day, bringing a dynamic quality to the space. Beige Indian Marble enhances the three-dimensional effect, making this design a captivating choice.

6. Circle Mountain Design

Inspired by natural landscapes, the Circle Mountain Design captures the beauty of mountain ranges. Concentric circles resemble peaks and valleys, evoking a sense of tranquillity and balance. White or Green Indian Marble amplifies the organic feel of this design, making it a serene addition to any room.

7. Ripple Wave Design

The Ripple Wave Design brings a touch of elegance and fluidity to any space. This pattern creates a rippling effect, reminiscent of gentle water waves. Use Black or Grey Indian Marble for a striking feature wall in living rooms or bedrooms.

8. Linear Wave Design

The Linear Wave Design offers clean, straight lines that form a wave-like pattern, perfect for a minimalist aesthetic. This subtle yet sophisticated design suits various spaces. Enhance the linearity with White or Beige Indian Sandstone for a sleek, modern look.

9. Fluting Marble Layers Design

The Fluting Marble Layers Design provides a contemporary take on traditional fluting techniques. Layered flutes add depth and texture to your walls. The rich Green or Black Indian Marble creates an opulent effect, making this design ideal for luxurious interiors.

10. Grey Wave Design

The Grey Wave Design combines soft waves with the neutral tones of Grey Indian Sandstone or Marble. This pattern creates a calming, serene atmosphere, making it a popular choice for bathrooms and spa-like spaces.

Materials Used for Decorative Wall Claddings

Indian Sandstone: Indian Sandstone stands out for its natural beauty and strength, making it an excellent choice for both interior and exterior cladding. Available in timeless colours like Black, White, Grey, and Beige, it easily complements a variety of design styles.

Indian Marble: Indian Marble brings a luxurious finish to any project, making it a favourite for high-end spaces. It offers a wide range of colours, including Black, White, Grey, Beige, and a rich Green, adding sophistication and elegance to your design.

Techniques of Installation

The installation method you choose significantly impacts the final appearance and durability of your decorative wall cladding. Two primary techniques are commonly used:

Wet Cladding Technique: In this method, a mortar mix is applied to the back of the cladding, which is then pressed onto the wall. This technique works well for outdoor installations, providing a strong bond that withstands various weather conditions.

Mechanical Fixing Technique: This method uses metal anchors or brackets to secure the cladding to the wall. Ideal for large panels or wet conditions, mechanical fixing offers a clean and durable finish, making it suitable for indoor installations.

Conclusion:

Modern patterns in decorative wall cladding offer endless possibilities for transforming your space. Whether you prefer the natural beauty of Indian Sandstone or the luxurious finish of Indian Marble, the designs mentioned in this guide cater to various tastes and styles. By choosing the right material, colour, and installation technique, you can create a stunning visual impact that will stand the test of time.

[princesssarisa]

The Different Portrayals of Papageno in "The Magic Flute" (Die Zauberflöte)

Of all the characters in Mozart's The Magic Flute, Papageno is probably the one most open to interpretation by the singer and the stage director. As I've watched different performances of the opera, the funny bird-catcher seems almost like a different character in each version.

Every singer brings unique qualities to the role, but I've narrowed the most common portrayals down to four – which can be combined with each other too. I've seen baritones give excellent performances in every one of these portrayals, as well as in blends of them.

The Innocent

This is the sweetest portrayal of Papageno and the most endearingly simple-minded. He’s most often portrayed by younger baritones: the more baby-faced, the better. This uneducated, naïve young creature of the woods and mountains is almost a Peter Pan figure (without Peter Pan’s brashness or ruthlessness, though with a little of his boyish cockiness), who has never quite grown up. His childlike qualities include total earnestness as he asks questions with obvious answers, childlike quaking and whimpering in the face of danger, and childlike sobbing in moments of despair. Yet while his failure to “be a man” sometimes tries other people’s patience, no one except Monostatos can really dislike him. His friendly, cheerful, exuberant yet gentle demeanor is filled with natural charm, and the broad, sunny comedy of nearly all his scenes keeps the audience laughing, yet his boyish vulnerability is touching too, even when it’s played for laughs. Most endearing of all is his lively, wide-eyed, unabashed joy in all of life’s most simple pleasures. He might be an unsophisticated man-child, but whatever he lacks in maturity or wisdom he makes up for in zest for life and in warmth of heart.

The Peasant

This is a more mature, down-to-earth Papageno, who clearly represents the common man. He comes across as an average, hardy 28-year-old peasant, lifted straight out of the 18th century Austrian countryside into an exotic fairy tale world. Although uneducated and unrefined compared to Tamino, he’s not particularly naïve, but conveys sound working-class intelligence and practicality, and he often delivers his funny lines with a knowing, snarky wit. This makes him a kindred spirit to classic earthy “comic servant” characters like Sancho Panza or Leporello. His lustiness is also pronounced as he craves good food, alcohol, and female companionship: it’s clear that his desire for a Papagena is carnal, not just emotional. And despite all his fears and foibles, there’s an underlying stolidness to him; a sense of resilience that suits a man whose spent his life working hard to earn a humble living. Ultimately, he fails Sarastro’s tests not because he’s silly or weak, but because he’s just too ordinary for the grandly idealistic world of the priests. This makes him less broadly funny than some other Papagenos are, but it makes him easy for the audience to personally relate to, and easy for them to view as a friend too.

The Odd Duck

This is the most eccentric Papageno. His costume tends to be more wildly feathery than other Papagenos’ and make him look less human and more birdlike. He often has more birdlike mannerisms too: for example, making chirping sounds when he sees a pretty girl, or literally screeching in terror. But even if he’s portrayed as fully human, he’s defined by adorable quirkiness. In contrast to the staid dignity of the upper-class characters who surround him, he has puckish, squirrely energy, with little thought for dull things like “manners” or “social rules,” and his emotions always run free and high, sometimes causing funny melodramatics when he’s especially scared or distraught. Yet his joy in living is equally strong and unabashed, and for the audience, it’s infectious. Nor is there any restraint on his love of food, wine, and pretty girls, or on his playful and mischievous sense of humor. This free spirit is a true “child of nature,” who, like a wild bird, lives by his animal instincts: he doesn’t care what anyone else thinks of him, no matter how strange, silly, or inappropriate he seems by normal standards of society. He just does whatever he feels like doing, and the audience can’t help but love him for it.

The Sad Clown

This is the least comical Papageno, but no less endearing than the others. His costume tends to lack feathers and be drably colored, disheveled, and poor-looking. Nor is his demeanor as broadly cheerful as other Papagenos’, but more reserved, and as for his style of humor, he’s most akin to Charlie Chaplin’s Little Tramp. The audience laughs at his foibles and slapstick, but feels pity him as well, because he shows a full and realistic range of emotions, with a subtle yet distinct vein of melancholy. He makes us realize what an unlucky man Papageno really is, as he constantly fails other people’s expectations and is browbeaten by both the villains and the heroes alike (all except Pamina). The sense of loneliness he conveys is especially poignant: not only in his deep yearning for a Papagena, but because he grew up without parents, has no real friends (only social superiors, some kind, others less so), and has never known any form of love. This Papageno’s eventual suicide attempt seems much less ridiculous than usual: even though it’s still played partly for laughs, we can almost believe he might go through with it. When he finally finds his Papagena in the end, his happiness feels long overdue and well earned.

The Pecking Rooster

This Papageno portrayal is more of a subtype than an individual type: he can predominantly be either an Innocent, a Peasant, or a Sad Clown. But either way, he’s pricklier than other Papagenos, with more machismo and a little bit more of a temper. Like a rooster defending the henhouse, he feistily defends his own safety and comfort, and like the Cowardly Lion with his “Put ���em up! Put ‘em up!” he tries (but fails) to mask his fears with “manly” pugnaciousness and pride. Expect this Papageno to posture exuberantly as he claims to have the strength of a giant, to puff himself up to scare Monostatos away, to be as stubborn as a mule in refusing to face each new danger, and to bicker with Tamino and the priests every step of the way. His anger at being constantly ordered around, dragged into unpleasant situations, and denied the reward he was promised (a bride) is loud and clear. Yet unlike his villainous counterpart Monostatos, he’s never consumed by his anger, but combines it with classic Papageno warmth and good humor. For that reason, audiences empathize with his frustration, and admire his proud efforts to stand up to the powers that frustrate him, even though he comically fails to thwart them.

Here are some examples of the different Papagenos from different filmed performances of the opera. (I'll add more as I see them.)

*William Workman (Hamburg, 1971): The Innocent.

*Håkan Hagegård (Ingmar Bergman film, 1975): The Innocent, with undertones of the Sad Clown.

*Benjamin Luxon (Glyndebourne, 1977): The Peasant, with traces of the Innocent and the Sad Clown.

*Christian Boesch (Salzburg, 1982): A blend of the Innocent, the Peasant, and the Pecking Rooster, with undertones of the Sad Clown.

*John Fulford (Sydney, 1986): The Peasant.

*Mikael Samuelson (Drottningholm, 1989): The Odd Duck, with the earthiness of the Peasant.

*Manfred Hemm (the Met, 1991): The Innocent.

*Detlef Roth (Paris, 2001): A blend of the Innocent, the Odd Duck, and the Pecking Rooster.

*Simon Keenlyside (Covent Garden, 2003): The Sad Clown.

*Christian Gehaher (Salzburg, 2006): A blend of the Peasant and the Pecking Rooster, with hints of the Odd Duck.

*Nathan Gunn (the Met, 2006): A blend of the Peasant and the Odd Duck, with traces of the Pecking Rooster.

*Markus Werba (the Met, 2017): A blend of the Innocent and the Peasant, with traces of the Pecking Rooster.

Meanwhile, in my gender-bent retelling, An Eternal Crown, I think Lorikeet is a cross between the Innocent and the Odd Duck, with a few undertones of the Sad Clown.

I'd be interested to learn which portrayal(s) @leporellian is using for the anthropomorphic cat Papageno in their Magic Flute-inspired novel Song of the Sky.

@ariel-seagull-wings, @tuttocenere, @vogelfanger1984, @thealmightyemprex, @thevampiricnihal, @cjbolan

[flareontoast]

I did it. I made the Austrian Miku(s)

[autumnwhistles]

(ft synthesised voice, also this isn't quite the start of the song but it works better as an excerpt)

[zombi3slobb3r]

(( OUTDATED ))

this should NOT have taken me this long 💀 but guess who finally learned how to draw goat hooves....... coughs on you

[tea-cat-arts]

I'm willing to at least hear out most of the "xyz plot point is heavily tied to abc cultural context" brands of posts but the "wwx isn't meant to be read as morally gray" and "the western fandom made up Sizhui being wangxian's son" brands of post make me feel like my cultural ignorance is being used to gaslight me

[geologyfordummies]

Daniel Bernoulli. Flute casts, W [?] E, Crackington Fm., Namurian, 1989.

Mass flows, turbidites. S Childspit Beach, S Hartland Quay, North Devon GB

[welcometoteyvat]

yu peng chen's new album is on youtube finally..

[stoneartbyskl]

Transform Your Space with Exquisite Decorative Wall Cladding: The Ultimate Guide for UAE Homeowners

In a world where beauty and function go hand in hand, Decorative wall claddings have become a game changer in home design. For homeowners in the UAE, where luxury and innovation reign supreme, incorporating decorative wall cladding can elevate your space to new heights of elegance and sophistication. In this blog, we’ll explore the transformative power of wall cladding, its benefits, and how it can seamlessly integrate into the unique architectural landscape of the UAE.

What is Decorative Wall Cladding?

Decorative wall cladding refers to the application of materials over a wall’s surface to enhance its appearance and provide additional benefits like insulation and durability. It’s more than just a visual upgrade—it’s a fusion of art and engineering. Cladding materials can range from natural stones and metals to synthetic options that mimic the look of more expensive materials. In the UAE, where modern design often meets traditional elegance, the right cladding choice can harmonize with both contemporary and classic styles.

The Allure of Wall Cladding in the UAE

1. Elevating Aesthetic Appeal

In the UAE, where interior design often reflects a blend of opulence and innovation, decorative wall cladding offers a versatile way to achieve high-end aesthetics. Whether you’re looking to create a dramatic feature wall in your living room or add a touch of luxury to your office space, wall cladding provides endless design possibilities. Materials like travertine, marble, and granite, which are prevalent in the UAE, add a sense of grandeur and timeless beauty.

2. Enhancing Property Value

Investing in quality decorative wall cladding not only improves the visual appeal of your home but also boosts its market value. In a competitive real estate market like the UAE’s, features that combine style and functionality can make a property stand out. High-end cladding materials are a sought-after feature in luxury homes and commercial spaces, making your property more attractive to potential buyers or tenants.

3. Addressing Climate Challenges

The UAE’s climate, characterized by extreme heat and humidity, presents unique challenges for building materials. Decorating your walls can provide benefits beyond aesthetics. For instance, certain cladding materials provide additional insulation, helping to regulate indoor temperatures and reduce energy consumption. This is particularly beneficial in the UAE, where efficient cooling systems are crucial for comfort.

Types of Decorative Wall Cladding

1. Natural Stone Cladding

Natural stone cladding, such as marble, granite, and limestone, is a popular choice in the UAE for its luxury and durability. Each stone type offers a unique texture and color, allowing for personalized design. Marble, with its classic elegance, is ideal for creating sophisticated spaces, while granite’s rugged durability makes it suitable for both interior and exterior applications.

2. Wood Cladding

Wood cladding introduces warmth and natural beauty to any space. In the UAE, where modern design often features sleek lines and minimalistic elements, wood cladding can provide a striking contrast. It’s important to select weather-resistant wood treatments to ensure longevity in the UAE’s harsh climate.

3. Metal Cladding

Metal cladding, including options like aluminum and stainless steel, offers a contemporary edge and durability. It’s particularly suited for modern architectural styles and commercial applications. Metal cladding is also low maintenance and resistant to the elements, making it a practical choice for UAE properties.

4. Composite Cladding

Composite cladding materials, which blend natural and synthetic elements, offer a versatile and cost-effective solution. They can replicate the look of more expensive materials while providing enhanced durability and ease of maintenance. Composite cladding is an excellent option for homeowners seeking a balance between style and practicality.

Design Considerations for UAE Homes

1. Integrating with Existing Architecture

When selecting decorative wall cladding, consider how it will integrate with your home’s existing architecture. In the UAE, where architectural styles can range from traditional Arabian designs to sleek, modern lines, it’s important to choose cladding that complements and enhances the existing design. For example, a contemporary home might benefit from sleek metal cladding, while a traditional villa could be beautifully enhanced with natural stone.

2. Color and Texture

The color and texture of your chosen cladding material can significantly impact the overall feel of your space. In the UAE, where natural light is abundant, lighter shades can help reflect and amplify sunlight, creating a bright and airy atmosphere. Textured cladding can add depth and interest, creating focal points or accent walls that draw attention.

3. Maintenance and Durability

Given the UAE’s environmental conditions, durability and ease of maintenance are crucial factors. Choose cladding materials that can withstand high temperatures, humidity, and sand. Materials like metal and composite cladding often offer superior resistance to these elements, ensuring that your investment remains in excellent condition for years to come.

4. Sustainable Choices

As sustainability becomes increasingly important, consider eco-friendly cladding options. Many manufacturers now offer materials that are recycled or have a reduced environmental impact. Choosing sustainable materials not only benefits the environment but also aligns with the growing trend of green building practices in the UAE.

Installing Decorative Wall Cladding

1. Professional Installation

Professional installation is recommended for best results. Experienced installers ensure that the cladding is applied correctly, addressing any structural or surface preparation needs. This step is crucial for maximizing the longevity and performance of your cladding.

2. Customization and Planning

Custom designs and planning are key to achieving the perfect look. Work with your installer or designer to create a tailored solution that meets your aesthetic and functional needs. Customization can include specific patterns, layouts, and finishes that reflect your personal style and complement your home’s design.

Conclusion:

Decorative wall cladding offers an exceptional opportunity for homeowners in the UAE to enhance their spaces with both beauty and functionality. Whether you opt for the timeless elegance of natural stone, the warmth of wood, the modern edge of metal, or the versatility of composites, cladding can transform your home into a stunning showcase of design. By considering factors like climate, architectural style, and sustainability, you can make an informed choice that elevates your space and adds lasting value. Embrace the transformative power of decorative wall cladding and create a space that truly reflects the luxury and innovation of the UAE.

[kaleidoscopevisualart]

📺 Kaleidoscope Visuals - Piano and Flute Music - Visual ASMR for Relaxation 4K Kaleidoscope Background

[poisonhemloc]

.

[hellothisisangle]

Contrary to all the bodily adornments I think he’d have a simple tent draped in embroidered fabrics. The bulk of his belongings would include a few different instruments, plus tools to make them, and the dragon’s horde of rings, necklaces, circlets, bracelets, anklets, etc. He does all his own piercings and also carries a tiny sterilization kit inside an inner pocket. Although he noticed that his skin already had existing holes not-healed over from before the memory loss

When alone, he could be seen whittling a new flute and practicing progressions, polishing jewelry, sharpening knives, or absentmindedly getting lost in a tedious task while his mind mulls over. Like pulling a veiny leaf apart by every thread and placing the plucked pieces in a strange pattern. Other than that, he’d try to copy or integrate himself into whatever the others are doing, hoping to pass the time with something fun

[geologyfordummies]

Bernoulli, Daniel (1936–, geologist). Flute casts, Walkers Bed, Scotland Fm, 28.05.1978.

Clastic sediments: mass flows, sedimentary structures. N of Bowden and River, St. Andrew, Barbados

What are flute casts? Find out here.

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

[chrissssssmut]

How about a yandere fic for Karina for her b-day?

In where Karina invites her fellow idol Y/N to come celebrate her b-day in her home. Hopefully you add some smut 🫶🏻

HER BIRTHDAY, HER RULES

Karina x Male Idol Y/N

AN: Happy Birthday Karina! Decided to make this story first since its her birthday today! Back to regular programming!🥰💕

You hesitated outside the door, shifting the wrapped wine bottle in your hands. Karina had texted you personally a week ago.

“Hey Y/N. My birthday’s coming up. I’m throwing something small, just close friends. Would love for you to come.”

The fact that she’d invited you—you out of all the other idols—made your heart stutter a bit. You two had shared a few polite moments backstage at shows, stolen glances in green rooms, nothing more. Still, Karina had this way of making everything feel personal when she spoke to you. Like you mattered more than you should.

The door clicked open before you could knock.

Karina stood there, dressed in a silky midnight-blue robe that shimmered slightly under the warm lights behind her. It hung off one shoulder just enough to show the smooth slope of her collarbone.

“Y/N,” she purred, her lips tugging into a slow smile. “You made it.”

You smiled back, slightly stunned. “Of course. Wouldn’t miss your birthday.”

She leaned in, gave you a soft cheek kiss that lingered longer than expected. Her perfume was sweet—jasmine, maybe vanilla—and it fogged your brain just a bit.

When you stepped inside, the silence hit you.

No music. No chatter. No guests. Just the flicker of candles on the coffee table and a half-empty bottle of champagne.

You glanced around the penthouse. “Uh… am I early?”

Karina turned, pouring a glass like it was nothing. “Not at all. You’re actually the first one here."

She handed you a flute and raised her own. “Cheers.”

You clinked glasses with a soft smile. “To you.”

“To me,” she repeated, eyes locked on yours as she sipped.

Minutes turned into an hour. You sat on the couch, trading stories, laughing more than you expected to. Every few minutes you’d glance at your phone, expecting more guests to buzz the door, but nothing happened.

Finally, you asked, “So… are the others late or something?”

Karina blinked, then gave a tiny shrug. “They said they’d drop by. Maybe they flaked.”

She leaned closer, her fingers lightly brushing your knee. “But I’m glad you came. Honestly, I only really wanted to see you.”

Your throat tightened, heartbeat ticking a little too fast.

“Me?”

She smiled. “Yeah. You’ve been on my mind a lot lately. I figured tonight might be the perfect excuse to get you alone.”

Her words danced between casual and dangerously intimate.

You looked away, trying to collect yourself. “Maybe I should slow down on the drinks—”

Karina refilled your glass before you could protest. “Don’t be shy, Y/N. Just relax. It’s my birthday, remember? That means I get what I want.”

She sat closer, her thigh pressing against yours.

You took another drink.

Some time later…

Your limbs felt warm. Too warm. You were buzzing—not wasted, but definitely past the point of making sharp decisions.

Karina had settled on the floor in front of you now, sitting between your knees, her chin resting on your thigh. Her robe had slipped further, revealing the delicate strap of a lace bra.

“I always wondered what kind of drunk you are,” she murmured, fingers tracing lazy patterns on your knee. “Turns out you’re cute when you let your guard down.”

You chuckled, leaning back into the couch. “And you’re… kinda dangerous.”

She grinned, tilting her head. “Is that a complaint?”

“No. Just an observation.”

Her eyes darkened a shade. “Good. Because I like when you look at me like that.”

She leaned in closer, lips inches from your throat. “You know, I wasn’t lying when I said other people were invited. I just… never sent the invites.”

You blinked. “Wait—what?”

“I wanted tonight to be just us. I wanted…” She paused, her hand slipping up your thigh, slow, deliberate. “…to finally have you to myself.”

Your breath caught.

She leaned up, kissing your jaw lightly. “Tell me to stop.”

You didn’t.

She pulled back just slightly, eyes glittering with heat. “Didn’t think so.”

Your pulse was a wild thing beneath your skin, thudding in your ears like war drums.

Karina straddled your lap now, her knees pressing into the couch cushions on either side of your hips. The silk robe slid open as she moved, a glint of smooth thigh and lace flashing beneath it. Her fingers dragged up your chest slowly, nails light enough to tickle, but firm enough to leave you chasing every touch.

"You're so tense," she whispered, brushing your hair back. "Let me take care of you."

Your breath hitched as she leaned in, pressing her lips to your neck—not kissing, not yet. Just letting them hover, her breath hot against your skin.

“You have no idea,” you rasped, voice lower than it had been all night. “How long I’ve imagined this.”

“Oh?” she purred, dragging her tongue up the shell of your ear. “Tell me. What did you imagine, Y/N?”

You swallowed thickly, your hands finally moving to grip her waist. Her robe was hanging off her shoulders now, nothing between you but the thin silk belt and your self-control—both of which were about to snap.

“I imagined you like this,” you muttered. “On top of me. Taking control. Making me beg for it.”

Karina let out a soft, low laugh that vibrated against your throat. “Beg? You don’t need to beg. Not tonight.”

She leaned back just enough to untie the robe’s belt, slow and teasing. The knot slipped loose with a quiet whisper, and the robe fluttered open, revealing the full curve of her chest barely contained in a black lace bra, the matching panties hugging her hips like sin.

She reached for your shirt, tugging it up. “Off. I want to see you.”

You didn’t hesitate.

The second it was gone, her palms were on your bare chest, gliding, exploring—fingertips dragging down toward your abs like she was memorizing every inch of you.

"You've been hiding this under stage outfits and leather jackets? What a waste."

You laughed, breathless. "You watch me that closely?"

She smirked. "Only all the time."

Then her lips were on yours—no teasing now. No hesitation. Just heat. Her mouth was soft but demanding, her tongue sliding over yours with perfect control. She kissed like she meant it, like she needed it, and every brush of her lips made your body thrum.

When she pulled back, her lips were slick, swollen.

“I want you to do exactly what I say,” she whispered, grinding her hips against your growing bulge. “Can you be good for me, pretty boy?”

You groaned. “I’ll be whatever you want.”

Her grin turned wicked. “Lie back.”

You obeyed instantly.

Karina rose just enough to strip off the robe and toss it aside, then climbed back over you—only now, she took the belt from the robe in her hands. She leaned down and gently, with deliberate slowness, took your wrists and pinned them above your head.

She bound them together with practiced ease, then tied the belt to one of the couch’s vertical bars.

You tugged slightly, testing. Secure.

“Comfortable?” she teased, her eyes glittering with heat and something darker.

“Only if you sit on my face next.”

Her breath caught—and then she laughed, genuinely. “You’re cute when you’re desperate.”

She slipped down your body, kissing a trail across your chest, tongue flicking one of your nipples just to hear you gasp. Then she undid your belt, popped your jeans button with one hand, and tugged everything down in one swift motion.

Your cock sprang free—hard, leaking, and throbbing.

“Oh,” Karina whispered, staring for a moment before biting her lip. “Pretty.”

She wrapped her fingers around the base, pumping slowly, teasing you with feather-light strokes.

“Do you know how long I’ve waited to see this?” she murmured. “All those times backstage when you’d talk to me with that perfect smile, and I’d wonder… if you’d fuck me as well as you sang.”

“Why don’t you find out,” you growled.

She glanced up, eyes dark. “Oh, I will.”

Then she leaned down—and took you in her mouth, slow and devastating.

Her tongue curled around your shaft as she sucked, mouth hot and wet, lips stretched perfectly. She started shallow, teasing the tip with little flicks of her tongue, before taking you deeper, inch by inch.

You groaned, arms straining against the restraints.

She moaned around you, the vibrations making your back arch. Her hands pinned your hips down, keeping you still as she worked you over—messy, relentless, eyes locked on yours the whole time.

“Fuck, Karina—” you gasped. “Gonna cum if you keep that up—”

She pulled off with a pop, saliva trailing from her lips. Without a word, she let your cock rest against her tongue, then lightly slapped it against it—once, twice—watching the way it twitched, glistening with spit. Her eyes never left yours as she dragged her tongue slowly up the underside, savoring the mess she’d made.

“Not yet,” she said sweetly. “You don’t get to finish until I say so.”

Then she stood, peeled off her panties, and straddled you again��her folds glistening with arousal, her chest heaving.

You looked up at her, completely undone. “You’re evil.”

She grinned. “You like it.”

She reached down, guided your cock to her entrance—and then slowly, deliciously, she sank down onto you.

Both of you groaned in unison.

She was tight. Warm. Wet. You could feel every inch of her, the way she clenched around you, how perfectly she fit.

She started to move—slow rolls of her hips, rocking back and forth, her hands planted on your chest. Her rhythm was devastating, pulling you right to the edge over and over.

“Look at you,” she moaned, riding you deeper, harder. “Tied up, moaning for me. You belong to me now, Y/N. No one else is going to get you like this.”

You could barely speak—just gasps, curses, your body shaking beneath hers.

“Say it,” she demanded, picking up pace. “Tell me who you belong to.”

“You,” you choked out. “Fuck, Karina—it’s you. Always you.”

Her face lit up with something more than lust. Something fierce. Possessive. Triumphant.

She rode you harder now, skin slapping, your moans echoing in the room, tangled bodies slick with sweat and heat and everything you weren’t allowed to feel on stage.

When Karina’s rhythm grew erratic, her hands gripped your chest tighter, nails digging crescents into your skin. Her head dropped back, mouth parted, hair clinging to her damp neck as her moans turned into frantic whimpers.

“Fuck—Y/N—” she gasped, voice breaking. “I’m… I’m gonna cum—don’t stop—don’t fucking stop—”

Her thighs clenched around your hips, trembling as she rode you harder, faster, chasing that edge with a wild kind of desperation.

You reached up, your hands now free, grabbing her hips to hold her steady, thrusting up into her as her body tensed.

“Karina—cum for me,” you groaned. “I wanna feel you fall apart on me.”

That did it.

She let out a strangled cry as her orgasm slammed into her—“Oh my god—fuck, Y/N—yes—” Her hips stuttered, grinding down hard as her walls clenched around you, pulsing with heat and need.

Watching her come unraveled you completely.

“Shit—fuck—Karina—” you growled, eyes locked on her as your own climax surged through you.

You spilled into her, deep and hot, groaning into her neck as she kept moving—slow now, milking every drop, dragging her soaked folds along your cock with deliberate, overstimulating rolls of her hips.

“God, you fill me so well,” she whispered breathlessly, body twitching from aftershocks. “I can feel it inside me… so warm. So mine.”

You let your head fall back, completely ruined beneath her, chest heaving, sweat-slicked skin against silk and lace.

She leaned down, brushing her lips over yours with a satisfied smirk.

You lay back, skin damp, your heartbeat still stuttering as Karina curled up beside you on the couch.

“Happy birthday,” you breathed.

She smiled against your shoulder. “Best gift I’ve ever had.”

Then, after a pause, she whispered:

“You’re mine now, right?”

Your head turned. “Huh?”

She was still smiling, but there was something unreadable behind her eyes now.

“I mean, after tonight… there’s no going back. You know that, right?”

Her fingers trailed your chest, light but possessive.

You swallowed hard.

She leaned up to kiss you again—slow, sweet, and a little bit dangerous.

And in that moment, you couldn’t tell if you were drunk on the alcohol… or her.