One of the things that has always attracted us to historic structures is interior decorative moldings. The brilliance of their design, scale, proportions and application often exceed those of their modern offspring.
Support, then adorn
Wood moldings were affixed to hard walled structures to bind, support and protect surfaces. Over the centuries, moldings evolved from utilitarian to decorative, and were made from materials such as stone, plaster and resin.
During the Industrial Revolution (1865-1900), mass production of decorative moldings replaced many costly handcrafted ones. With the affordability of these new manufactured moldings, it became commonplace to see them gracing the interiors of more homes. These mass-produced versions gave the average home an immediate upgrade.
The finishes that were applied to them added varied moods — whether stained, painted, gilded, polished or honed. During the Victorian era, an extraordinary time of fanciful designs, the term “gingerbread” was born to describe the elaborate ornamentation of houses.
Today, with the resurgence of these decorative revival styles, we are seeing many interiors adorned with moldings made of wood, plaster and resin.
Form and function
Moldings should be utilitarian and decorative. Did you know that a chair-rail molding actually received its name because it protected the walls from being damaged by the backs of chairs? It was typically installed at the height of most chair backs to serve this purpose.
A picture rail installed near the ceiling allows objects to be hung with a special hook, preventing damage to the plaster wall surfaces from nails, dowels or screws.
Installing a picture rail in a vaulted room at about the IQ-feet height, which creates a “water line,” allowing an accent paint color or special wall finish to be painted below. This treatment brings the eye down to the average line of sight and makes a cavernous space feel warmer and more welcoming.
Here are more guidelines to use when choosing and using moldings:
- Determine if the location to receive the moldings is a “damp” or “dry” space. Bathrooms, kitchens, laundry rooms, and indoor pools are considered “damp” locations. If your application is in a “damp” location, you would be best served by utilising a resin, plaster or stone molding as wood will expand and contract.
- Determine the style that you want to achieve. If you are looking for a more formal traditional look such as Georgian, Federal, French or Italian, the moldings should reflect the styling of these eras, which is very detailed and ornate. For a more rustic look such as Spanish colonial, Tuscan farmhouse or French provincial, your selections should be simplified classics with minimal detailing and a straightforward ap roach. If you are working on a modern classic design then your selections should be minimalistic in approach.
- Don’t forget the finish, which is as key as the molding itself. For more formal styles, choose painted or gilded finishes. Rustic styles are typically stained, and the modern styles are typically painted or metallic finishes.
- Decorative moldings are often overused within many of today’s spaces. Sometimes, less is more. If you are someone who loves moldings, the best style for you would be a formal one as this style can handle going a little “overboard.” Typically, this style is ornate. When it comes to the more rustic and modern styles, it is best to show restraint and keep the decorative moldings in key rooms and hallways. The wrong molding style or the wrong application can make a room feel incongruous.
- A trick that I like to do to give the “look” of expensive decorative plaster moldings while using inexpensive MDF (medium density fiberboard) moldings is to paint these moldings in the same color as the walls or ceiling, using a flat finish. As long as your carpenter has properly caulked and filled any gaps between the moldings and the wall and ceiling surfaces, it will appear as though the moldings are integrated into the substructure.
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Mad for Moldings
Décor | Issue 5 — February and March 2009
Décor | Issue 5 — February and March 2009
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