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For other uses, see Molding. Ogee (cyma reversa) molding and resulting shadow pattern Moulding (also spelled molding in the United States though usually not within the industry), also known as coving (United Kingdom, Australia), is a strip of material with various profiles used to cover transitions between surfaces or for decoration. It is traditionally made from solid milled wood or plaster, but may be made from plastic or reformed wood. In classical architecture and sculpture, the molding is often carved in marble or other stones. A "sprung" molding has bevelled edges that allow mounting between two non-parallel planes (such as a wall and a ceiling), with an open space behind the molding. Other types of molding are referred to as "plain". At their simplest, moldings are a means of applying light- and dark-shaded stripes to a structural objects without having to change the material or apply pigments. The contrast of dark and light areas gives definition to the object.
Imagine the vertical surface of a wall lit by sunlight at an angle of about 45 degrees above the wall. Adding a small overhanging horizontal molding to the surface of the wall will introduce a dark horizontal shadow below the molding, which in consequence is called a fillet molding. Adding a vertical fillet to a horizontal surface will create a light vertical shadow. Graded shadows are possible by using moldings in different shapes: the concave cavetto molding produces a horizontal shadow that is darker at the top and lighter at the bottom; an ovolo (convex) molding makes a shadow that is lighter at the top and darker at the bottom. Other varieties of concave molding are the scotia and congé and other convex moldings the echinus, the torus and the astragal. Placing an ovolo directly above a cavetto forms a smooth s-shaped curve with vertical ends that is called an ogee or cyma reversa molding. Its shadow appears as a band light at the top and bottom but dark in the interior. Similarly, a cavetto above an ovolo forms an s with horizontal ends, called a cyma or cyma recta.
Its shadow shows two dark bands with a light interior. Together the basic elements and their variants form a decorative vocabulary that can be assembled and rearranged in endless combinations. This vocabulary is at the core of both classical architecture and Gothic architecture. Decorative moldings have been made of wood, stone and cement. Recently moldings made of Expanded Polystyrene (EPS) as a core with a cement-based protective coating have become popular. These moldings have environmental, health and safety concerns that were investigated by Doroudiani et al.[1] Moldings from 1728 Table of architecture in the Cyclopedia[2] There are a variety of common moldings: ^ Building and Environment ^ a b c d e f This article incorporates text from a publication now in the public domain: ^ a b c d e f Dictionary of Ornament ^ Distinctive Wood Designs Inc. (2010) "Trim Mouldings" Raised panels, the most traditional wainscoting style, go back to colonial days.
The decorative raise is created by beveling the edges of the panel. Common height is between 30 and 40 inches, but the design can be adapted for higher-ceilinged spaces by adding a center rail to create two rows of panels. The rails, stiles, and panels fit together the same way as in traditional flat-panel assemblies. The bottom rail can double as the baseboard, as it does here, or the baseboard can be built up from several pieces of molding. Recessed flat panels have the simple, clean lines popular in Arts and Crafts and Mission styles. The basic parts list is equally spare. It starts at the floor with the baseboard, which can be a plain piece or built up with shoe and cap moldings. Next comes the bottom rail (the horizontal piece of the panel frame), followed by the stiles (vertical pieces of the frame) and panels, which slip into grooves cut into the edges of the stiles and rails. The top rail completes the panel frames, and the whole assembly is crowned with a chair or cap rail.
A less labor-intensive method is to panel the wall with sheet material and apply the moldings on top of it. Overlaid panels mimic the appearance of raised-panel wainscoting but allow for more elaborate designs. A solid wood overlay is centered between the rails and stiles of a flat panel and glued in place, creating a surrounding recess. Applied ogee molding heightens the effect. Overlays can be deeper and more detailed than milled raised panels, for a more Neoclassical look. They can also be applied directly to a wall, with a chair rail above and base molding below, for quick and easy wainscoting. The Craftsman style, with its flat panels and vertical battens, emphasizes a Shaker-like simplicity. In the old days, the battens were used to conceal the seams between individual boards; today, they are typically installed over 4-foot-wide panels of hardwood-veneer plywood. Height for batten-style wainscoting can rise up to 6 feet or even higher. At the top, a wider plate rail often replaces the chair rail to provide a platform for decorative objects.
Beadboard, which had its origins in 19th-century Victorian and cottage styles, is the classic wall covering for informal spaces like kitchens, bathrooms, and back hallways. But you can fancy it up with the addition of a row of flat or raised panels. Here, tongue-and-groove beadboard is combined with flat panels for a casual yet polished look that can work in a dining room or bedroom. Keeping the middle and bottom rails flush with the face of the beadboard streamlines the overall appearance. Though wood is the traditional wainscoting material, not all wainscoting is wood. Try these durable, non-traditional materials for longlasting style. Smooth and paintable, extruded PVC beadboard may be too perfect for those wanting even a hint of woodgrain or sharp profiles, but it will never warp or rot. For something completely different, the stamped tin we're used to seeing on ceilings can also be fastened to walls. To make it less susceptible to dents, butter the back with plaster or joint compound before mounting the tile on a 3/8-inch plywood substrate.
Four-inch ceramic tile is almost as traditional for wainscoting as wood, especially in bathrooms. Many tilemakers offer profiles that can be used as cap and base moldings. Newer is tile "beadboard," which combines a classic look with the durability and water resistance of tile. A 5/8-inch-thick, 32-by-48-inch sheet with the contours of three raised panels pressed into the surface. Gets fastened to the wall above base molding and capped with a chair rail. Lacks the shadow lines created by stiles, rails, and panels, and panel widths can't be adjusted for specific wall lengths. Covered with a hardwood veneer or factory-primed and ready for paint, MDF is used for beadboard, panels, stiles, rails, and moldings. More stable than solid wood, it eliminates problems caused by expansion and contraction. A 5/8-inch-thick, 32-by-48-inch gypsum board with raised-panel shapes pressed into the face. In addition to sacrificing verisimilitude, you also must be willing to forgo any of wainscoting's protective power.
If you are using wood for wainscoting, whether it's staying natural or taking paint, it should be sealed all over, back and front, to minimize the expansion and contraction that can crack seams, then prepainted or stained to eliminate the chance of movement exposing unfinished wood. To get off to a perfect start, you may have to adjust the first strip to compensate for a corner that's out of plumb. Hold the strip tight against the wall and adjust it until a level shows it's plumb. Measure the size of the gap that results (left). Then, starting at the end of the strip that's touching the wall, cut it lengthwise so it tapers from the amount of the gap to the strip's full width. The strip will fit the angle of the wall while remaining plumb. An existing wall may harbor one or more "waves" that must be flattened lest they make the wainscoting equally untrue. To produce a flat, plumb nailing plane, horizontal furring strips can be fastened to wall studs through the drywall or plaster.
In isolated spots on a finished wall, use shims to fill the void (left). To make a chair rail fit flat against a not-so-flat wall, fasten a filler strip to the chair rail's back edge. Any run of floor, old or new, invariably has high and low spots, even if the difference is only 1/8 inch. So you can't just cut all the beadboards the same length and assemble from the baseboard up. You must find the high spot and mark the chair-rail level line from there. To keep the top of the baseboard level, shim as needed, then, using a block equal to the height of the gap, scribe and cut the bottom edge to match the floor's ups and downs. If the chair rail stops at an outside corner or is wider than a door casing, you can finish the exposed end with a return, a small wedge that "returns" the molding to the wall. End the chair rail with a 45-degree cut, as if it were an outside corner. Then, on a scrap piece of chair rail, cut the mating outside miter. To create the wedge, make a 90-degree cut at the point on the scrap stock where the miter begins.