#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.

[flareontoast]

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

[cql-screenshots]

[welcometoteyvat]

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

[itsbrucey]

Hihiii! I have appeared with an invisible microphone up to you (you seem very talk to me idk why- could be your banner on your profile hmm) Jonah and Lorraine? What’s their deal? (/nf ask ofc :]])

People like commenting on my banners and I just realized both my main and side have fucked up Markipliers. Hm.

Also. Cracks knuckles. Ok this will probably be NONSENSE I am very tired but here's a fucking run down ( maybe I'll add tomorrow/later idk)

Jonah and Lorraine are two of my OCS that are in this circle of my Darling Wonderful OCS aka the ones I actively think about and make content for. They're in the same realm as Dulcie and Eli and Marley and Vio. Which is to say My Main Ocs.

They're also the select few that have a story/narrative of some kind! Of which I'd like to one day actually write or make comics for.

The basics of Jonah is that she's essentially a super soldier experiment, not being "finished" but the newest model that's being worked on. All lab grown, not a "real person" and therefore is not treated as such. She's made as an organic war machine and is extremely strong and durable; tear tanks and armies apart with her bare hands strong and durable. But she's also INSANELY dehumanized and abused within her facility to the point where she's just kind of. Completely apathetic and numb and permanently in a Fight state of being as a defensive mechanism.

She ends up turning on the facility during a regular trial run of her progress and she SLAUGHTERS most of the lab and facility workers. She escapes the facility and doesn't really have anywhere to go so she just Picks Somewhere. She ends up escaping to a city and climbing through a random window post-carnage and meeting Zach. A random fucking English major who can't really do anything about this massive murder woman who is now in his place.

Her entire thing is that she's learning what it means to be human while dealing with A: trauma and PTSD from Everything and B: a government desperate trying to get her back. Big Woman enjoyers who want someone severely emotionally stunted and permanently stressed out but trying her best may like her. Also she's bisexual and her blood is BRIGHT pink.

Lorraine is a chieftess of a sky island that floats over The Abyss, governing it with her two brothers. She basically oversees the safety of the villages and makes sure people are fed and tended to. Things have been getting hard though, as the island keeps crumbling little by little, and the island seems to have been falling apart faster after Lorraine's father died and she took over. She ends up getting betrayed by one of her brother's and challenges to a duel because he blames her for things sucking really bad + he's jealouuuuussss.

Lorraine loses the duel and gets stabbed through the gut with the family spear ( which has lightning magic fun fact ) and physically KICKED over the side of the island by her brother. She falls and falls and falls, spear STILL INSIDE HER, and she falls into The Abyss, which is like. An infinitely stretching void way below the island. If you fall over the edge, you aren't coming back.

But Lorraine falls into The Abyss. And wakes up. In a fucked up new world that is mangled and twisted and decaying. She gets attacked by some [creatures I haven't named yet ValleyStalkers idk] and manages to fight them off with her spear, but just barely. She faints bc of blood loss + exhaustion + lightning magic. But THEN. PLOT TWIST BITCH SHE JUST DRAGGED INTO A LITTLE ROCK SHELTER BY A LITTLE GIRL. PEOPLE CAN LIVE DOWN HERE.

Lorraine gets nursed back to health by this young girl and Lorraine is hellbent on clawing her way back up to the island and slaughtering her brother for his betrayal. And she adopts the girl and sets off on a journey to leave The Abyss. Also she's like in her 40's-50's and is a cool trans woman with a wife. For my woman enjoyers who like a stern and commanding lady who is also very sweet and sacrificial. Also who has a kickass lightning spear passed through her family's lineage.

Lorraine's lore document is collecting dust as we speak but I'd like to finalize some lore of the worldbuilding + Abyss, as well as OTHER CHARACTERS WHO AREN'T MENTIONED BC THE STORY NEEDS DEVELOPED. Jonah doesn't have a lore document yet bc I'm. Lazy.

Thumbs up!! This is like. The general overview of them. My beautiful amazing battle women.

[krav1tzz]

[idlejet]

“You’re shape-shifting like a swarm of bees.”

[salted15]

goodmorning who the FUCK is playing scary-ass music literally the night after i watched an in-depth analysis of The Thing with full attention

[mordcore]

WIP :^)

might take better pictures. in daylight. for the final version

[poisonhemloc]

.

[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.

[natalieironside]

Adventures in folk etymology and unnecessarily gendered language: When I was very small, I had a relative or my parents had an acquaintance or something who had a bald spot that was kinda shaped like a ballsack. I remember nothing else about this man save for his vaguely yet distinctively scrotal tonsure. So, naturally, being very small, I assumed that was why it was called "male pattern baldness." Extrapolating from available data, I figured if you wanted to point out that something looked like a ballsack but you were at like a fancy dinner party or something you might say "It, ah, conforms to the male pattern, as you can see," and all the other ppl at the fancy dinner party might tap their forks against their champaigne flutes in accolade as if to say "Yeah, I guess it does kinda look like a ballsack"

[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.

[fbrd]

[basketonthedoorstepofthefbi]

Big Hands (Spencer Reid x Fem!PlusSize!Reader)

Pairing: Spencer Reid x Fem!PlusSize!Reader

Summary: You and your boyfriend, Spencer, are getting ready for a night out, when your insecurities start to get the best of you.

Word Count: 1531 -- it's just a lil guy

Warnings: Body insecurities, maybe a little bit of a big-girl-soapbox

A/N: I definitely wrote this very quickly this afternoon because I literally just felt like it. This is just a short lil one for the big gals who just want someone to notice them.

Anyway hope you enjoy! Thank you all who have commented/reblogged/liked my last fic!!

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Your jeans hugged your curvy hips as you tugged them up to your belly button, covering the bottom, larger part of your stomach. You were tall, for a woman, but not taller than Spencer. He was, what, 6’1”? You stood around 5’9”, so he still towered over you, still had to look down at you when he spoke, still had to crane his neck to whisper in your ear. 

You were wearing a flowy, sage green blouse. Why were clothes so hard to find for a larger girl? It was all cold-shoulders and obnoxious patterns. You just wanted something that flattered your body type and made you feel sexy. Apparently that was just a ridiculous request. This blouse was cute, but modest, with a ruched, fluted bunching of the fabric in the middle. The collar was low-cut to accent your breasts, but the sleeves were long, which was annoying. You were going dancing tonight with your boyfriend and his coworkers. You didn’t want to show off all of your body, by any means, but you wanted to look hot. Who could blame you? And it was also going to get hot, temperature-wise. Long sleeves just didn’t feel like the most pragmatic choice. 

Sometimes you just gave up and went with the best option. And this blouse, that made you feel like you were going to a casual church event, not to a bar, was, unfortunately, the best option. 

You inhaled sharply and shrugged your shoulders as you looked in the full-length mirror hooked on the back of the closet door. Your hair looked really cute - the two biggest pieces on either side in the front were braided and dangled in front of you, effectively bringing your hair out of your eyes but also provided something to give your hair a little pizzazz. Your makeup looked great - a simple, subtle smokey eye and glossy lips. Your black boots looked good, peeking out from your wide-legged jeans, which hugged your hips and, honestly, made your butt look really good. 

It was just this stupid shirt. And maybe you were getting too much in your head about it. But you were transfixed on it, hating the way the sleeves bunched up a little, how the bottom half flowed beneath the ruched fabric, effectively covering your stomach, meeting your jeans and the top of your thighs. The color was too muted for a going-out top - you wished you could wear something more exciting. 

You sometimes wished you looked like Emily or JJ, or had the self-confidence to rock loud looks like Penelope did. But then you remembered that you were who you were for a reason. You looked like you simply because that was what you looked like. And there was no point in wishing you looked like someone else. 

Plus, Spencer was really into your body. He was nearly always staring at your breasts when you were in private, sometimes to the point where you had to snap your fingers in front of his eyes to garner his attention. 

It was flattering. You didn’t mind it if your boyfriend objectified you a little bit. He was respectful about it. 

“Y/N, are you about ready?” Spencer walked into your bedroom as you looked at yourself in the mirror. Your eyes met Spencer’s and you saw his neutral expression turn into a full-fledged grin, biting his tongue and all. “You look really nice,” he said, and you shook your head. 

“I look like a chaperone at a middle school dance,” you frowned, tugging at the fabric of your blouse in some illogical attempt to make it look different. 

“What?” Spencer stood behind you in the mirror. His chin basically met the top of your head, like too puzzle pieces. One hand rested on your hip, while the other slowly brushed your hair to one side so he could press a kiss to your neck. “I think you look great,” he added. 

You immediately felt tingly and your knees wobbled at the action. “But I’m not dressing for you,” you said, your voice instinctively dropping as Spencer’s lips trailed down your neck. You were having trouble concentrating on what you were trying to say. “I’m dressing for me, and I want to look cute. I can’t believe you’re even going tonight. You don’t dance, Spencer,” you pointed out, your self-control somehow beating out your desire for Spencer in the moment. You broke away from him and turned around to face him. 

“You do look cute, Y/N. I don’t understand what the issue is?” Spencer’s head cocked to the side as he looked down at you. “Also, I’m going out tonight because you want to. And I’m trying to keep an open mind. I might enjoy it.” 

You were proud of him. When you started dating about six months ago, he would have simply politely declined an invitation to a night out. And while you didn’t love going out every night, or even every weekend, for that matter, you did enjoy a night out occasionally. 

Regardless, he still didn’t quite understand what you were feeling about that damn shirt. “The issue,” you began, heaving a sigh, “is that I’m insecure about my body. Like any woman. You don’t get it, because you’re a man, and you literally have nothing to be insecure about.”

You knew the words were incorrect the moment you said them, but something kept you from backpedaling. You watched as Spencer shook his head, letting a small laugh escape him. “You could not be further from the truth,” Spencer pointed out, and you knew he was right. Men had plenty to be insecure about, and it was, in some ways, even more difficult for men to express those feelings. 

“Well, I think you’re perfect,” You let a small, playful smile creep onto your face, and Spencer rolled his eyes as you used his own tactic from earlier. He stepped towards you and his hands found your waist, contouring to match your curves. He knew them so well now, he could probably draw a map of your body with his eyes closed. 

“I appreciate that,” Spencer said, his voice a little softer as your eyes met his. His head dipped down, and you thought, certainly, that he was going to kiss you, but instead, his lips stopped just barely by your ears. You could feel his breath on your neck, and a shiver ran down your spine as he spoke. “You might be insecure, Y/N, but I am, too. You’re just human.” 

“What are you insecure about?” You found yourself asking, pulling your head back to look at him properly. Now you were curious. 

“My hands, mostly,” Spencer removed his hands from your waist, holding them palm-up, as if to present them to you for the first time. 

“What’s wrong with your hands?” You asked, placing your palms atop his. 

“They’re really big,” Spencer said timidly, and, admittedly, they were. But just by comparison. Your hands fit into his with plenty of extra space. You used your index fingers to trace his palms. 

“They’re not too big,” you told him, and Spencer just smiled down at you, shaking his head, like he was just humoring you. “I love your hands,” you continued. “I love that you can put your palm over an entire half of my face,” you said, guiding his palm to your cheek and grinning when his skin touched yours. Spencer’s thumb brushed your cheekbone. 

“And I love your body,” Spencer replied, and you just pursed your lips and shook your head. “No, Y/N, listen to me.” 

You let out a frustrated little exhale through your nose and let him continue. 

“I love the way you look. But I wouldn’t care if you were any bigger or any smaller. Because I love you. I’m attracted to you, to your mind, to your sense of compassion, and to your body. I love the way your hips fill out your jeans, how your stomach looks in your yoga pants,” he said. “I love the way you wiggle your toes when we’re watching something funny on TV, how you do a little shimmy in your seat when you’re eating something you really enjoy,” he explained, mimicking the movement. You looped your arms around his neck. “But mostly, I’m in love with your personality. How you challenge me, how you seem to bring out the best version of myself.”

You let out a wistful sigh. If this were a Jane Austen novel, you would have swooned. But instead, you used your grip around his neck to bring his face down to yours and kiss him. It was slow at first, then a little more intense, and when you finally pulled away, your forehead rested against his. 

“You ready to go now?” Spencer asked, and when your eyes opened, you saw that he was smiling down at you. 

You shook your head, a mischievous smile spreading across your face. “Not yet,” you said, your hands sliding down his arms until your palms met his. You tugged him in the direction of your bed. “I want to show you how much I love these big hands.”