Designing With Mouldings

An Introduction to Mouldings

The foundations of traditional Western Design are based in the oldest types of architecture and specifically in the classical temple architecture of ancient Greece and Rome. The various types of temples, the Doric, Ionic and Corinthian, most easily identified by their unique column capitals and other details are in expression of a complete set of elements related to each other by a system of proportion. These proportions set the size and heights of Pedestals, Columns and Entablatures and of the pieces and parts that make up the whole.

When applied to modern work, these proportions inform the size of a cornice, the nature of a door or window casing and the other mouldings and details of a building. The shapes and profiles and their combinations are governed by rules of composition, much like any other language. In many instances, the designs of mouldings are derived from classical examples in Greek and Roman temple architecture. Some shapes and combinations are derived from other sources such as the Gothic architecture of the Middle Ages. In any case, a basic knowledge of historical precedents, the names of the shapes of the mouldings, and their common usage makes successful design of a trim package in a building easier and more satisfying.

1. Observe Historical Precedent

To achieve a particular Historical appearance, or to embody the design ethos of a period, it is possible to reference authentic historical examples of moulding combinations. The Classical Orders, as defined by Vignola, Ware and others, documentation of Historic Structures, such as the drawings of the Historic American Building Survey or the White Pine Series of Architectural Monographs provide many examples of handsome schemes. Photographs and dimensioned drawings exist for almost all styles of work from most cultures and continents, and can be used freely to create your designs, based on the best examples of the past and present.

The image to the right show frequently adopted combinations of mouldings, in this case, from the buildings on the Acropolis at Athens, the Roman Forum, and Spalato.

2. Study the Combination of Shapes as Used in the Orders of Classical Architecture

Moulding profiles are rarely used by themselves, but instead in groups. By studying the classical orders and their basic shape combinations, the architect or designer can better understand the application of mouldings and how they relate to one another and the whole.

For Further reading about the orders of architecture and their combinations of shapes, we recommend The Four Books of Architecture by Andrea Palladio, The Architect: or Practical House Carpenter (1830) by Benjamin Asher, The Five Books of Architecture by Sebastiano Serlio, Canon of the Five Orders of Architecture by Giacomo Barozzi da Vignola, and The American Vignola: A Guide to the Making of Classical Architecture by William R. Ware.

3. Harmonize Proportion and Scale

Proportioning systems are derived from the relationships between numbers and are expressed as fractions or ratios. These ratios exist all around us in musical scales, the Classical Architectural Orders, the Forms of Nature, and in Numbering Systems.

The illustration shows how the overall composition of the height and width of a room and the subdivision of the spaces on its walls are all related to the various parts. The cornice, the profile of the architrave moulding, and the division of the parts of dado or wainscot, all are related to the wall as a whole. Likewise, the length of a room, the relationship of one room to another, and of the parts of a building to a whole are related to each other proportionately. The more consistent and balanced the proportions and scale, the more appealing and harmonious on both an immediate and subliminal level.

For further reading about proportion and scale, we recommend The Architecture of the Classical Interior by Steven Semes.

4. Determine Moulding Height & Width

Mouldings and interior details help to establish the balance of a room so that it is visually pleasing.

The chart and illustration, give simple rules to follow when choosing the size of cornice in relation to the ceiling height. For example, in a high-style room with 11′ ceilings, a full entablature should be 2′ 2″, whereas in a typical second-floor room with 8′ high ceiling, the crown should be 2-1/2″ tall. Recommended casing width and baseboard height are show in the bottom diagrams, with reference to the ceiling height.

For further reading about moulding height and width details, we recommend Get Your House Right: Architectural Elements to Use & Avoid by Marianne Cusato, Ben Pentreath, Richard Sammons, and Léon Krier.

5. Integrate Light and Shade

When designing with mouldings, the effect of light and shade is of more importance to the initial design idea than the selection of specific profiles. Successful design and composition requires integrating a correct balance between textures, highlights, and shadows in relation to the direction of the light they receive.

Shadows upon flat surfaces are even in tone. Regular curves made from sections of a circle will create an even gradation of light and shade. Irregular curves, sections of ellipses or other shapes, will cause the intensity of the light and shade to vary across their surfaces.

For more information:

Architectural Shades and Shadows, by Henry McGoodwin, Boston, 1904.

Architectural Rendering in Wash, by Harold Buren Van Magonigle, New York, 1921.

6. Avoid Monotonous Repetition Unless Expressing a Texture or Pattern

Repetiton of a moulding profile is redundant and monotonous. Using equal or similar mouldings side by side or one on top of another should be avoided unless the goal is to express a texture or pattern.

Regular curves made from sections of a circle will create an even gradation of light and shade, while irregular curves made from conic sections, ellipses, etc., will create variation in the intensity of light and shade across their surfaces. The ancient Greek moulding profiles tend to use irregular curves while Roman examples tend to use regular curves. The interest and vitality created by irregular curves is thought by some to be preferable to the more regular (and potentially monotonous) effect of regular curves. Still, using too many or too large mouldings can ruin the appearance of even the most irregular of curves and the judicial use of a simple quarter round or quirk bead can be enough to breathe life into a design.

7. Maintain Facial Angles

General harmony in character is obtained by facial angles on mouldings.

By using facial angles in groups and units, an even quality of tone of shadows is maintained and harmony mat be achieved.

In exterior work illuminated by a single light source like the sun or moon, consistent facial angles must be maintained or the harmonic entity of a building will be ruined. In interior work it is not as important that facial angles be maintained since the direction of the light frequently comes from different and multiple directions.

Assuming a curve with its center at around eye-level – the tangent to the curve will be defining line of the facial angles of the mouldings at those points. In the illustration, it is clear that the cornice mouldings lean into the room, while the base mouldings step into the room. In this way, the facial angles of the mouldings in an interior will have a harmonic relationship.

8. Choose a Dominant Element within a Group of Mouldings

In a group of mouldings, the use of a dominant plane or profile will establish its character. The dominant element announces and controls the group. The lack of a dominant element will create a monotonous effect.

A dominant convex form has an excess of material and creates the effect of robust sturdiness. A dominant concave form subtracts material and creates an effect of delicacy and lightness. Contrasting the convex and concave forms gives interest and vivacity. Using one type without the other tends toward dull monotony.

The adjoining drawing show some moulding combinations where the dominant elements are in harmonic proportion to the others. At the bottom right of the drawings, the proportion of the dominant elements is unharmonic, or uncouth.

9. Use Clarity of Expression and Restraint

Simplicity, harmony of character and scale, and clearness of expression create a sense of good proportions in mouldings. Restraint in their use is a virtue, as is shown by the proportions and sections of Greek mouldings.

The adjoining drawings are combinations of mouldings that are frequently adopted from Greek originals.