llustrative Guide to Classical Moulding Design for

Transcription

I
llustrative Guide
to Classical Moulding Design for
Cabinetry & Furniture
• Since 1975 •
35 Years of Millwork Excellence
Introduction - Table of Contents
Introduction
Classical is a term that is often used loosely within the design community. In this age of modernism,
traditionalism, and mixing design genres to fit individual tastes, the true sense of what is classical can
get lost. It is true that Classical is most often associated with the Five Orders, but many miss the deeper
understanding of classical proportions and overall beauty that can be adapted to fit many styles today.
This booklet was created to give design professionals a broader understanding of classical design
principals and show how they can be adapted today. More specifically, we explore the specific math
and proportions that can be used for cabinetry, and the rooms that cabinetry are most often found
in - the kitchen and bath.
By tailoring this information to these specific applications, we hope that more design professionals will
feel comfortable in basing their designs on something more than just taste, but rather a cultural style
that has stood the test of time and is still very relevant today.
table of contents
Pages
Classical Proportions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 - 6
Crown Build-ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 - 8
Combining Mouldings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 - 10
Cabinetry Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 - 13
Style Made Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 - 15
Other Moulding Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 - 19
www.WhiteRiver.com for End-To-End Design Solutions
20-20 Technologies & Planit Solution Downloads • CAD • Online Catalogues
1.800.558.0119 • 479.442.6986 • Fax 479.444.0406 • E-mail [email protected]
• 35 Years of Millwork Excellence •
2
WhiteRiver.com l 800.558.0119
©White River Hardwoods-Woodworks, Inc. 1989-2012
classical proportions
Although kitchen and bathroom designs are based on modern conveniences and functionality, classical proportions still
play a crucial role in making any design beautiful.
An easy place to start determining good proportions is where your top cabinetry line will be,
which should be based on ceiling height (unless the ceiling height is exceedingly tall).
The guidelines below ensure that enough room is left to accommodate a
cabinet crown and a ceiling crown.
When the ceiling is unusually high, it is best to create your own ceiling line by allowing the lower edge of the ceiling
crown, or entablature, to sit lower on the wall. You can calculate the rest of your proportions off this line. Below are
examples of the Great Hall and Anteroom at Syon Park.
3
A good general rule of thumb is moulding height should be 4 - 9% of overall cabinet height. The taller the cabinet, the
higher the percentage should be.
Keep in mind that most manufacturers list the moulding width as the diagonal dimension, bottom
corner to top corner. This dimension is bigger than the actual height of the moulding once installed.
White River gives both dimensions; the height is listed out to the side,
along with the projection of the moulding from the wall or
cabinet face.
When choosing mouldings based on size, keep in mind the style you want to achieve. Try to pick out all decorative items
at the same time, so you can determine if custom cabinets are needed.
Stock cabinets usually do not accommodate extra details, so wider rails and stiles need to be specified if any decorative
items, such as larger crown build-ups or vertical columns, are part of the design.
This table is a good reference for classical proportions in any room that has cabinetry.
4
Ceiling Height
Ceiling Crown Height
Wall Cabinetry Line
Cabinetry Crown Height
96”
4” - 5 1/2”
84”
3 1/4” - 4 1/2”
108”
6” - 8”
90”
3 3/4” - 5 1/4”
120”
9” - 11 1/2”
96”
5” - 6 3/4”
144”
12” - 15”
102” - 108”
6 1/2” - 8 3/4”
168”
14” - 20”
120”
8 1/2” - 11”
In most kitchens today, all cabinets are not the same height. To create interest, focal points are made by varying the size
and heights of areas like the rangehood, refrigerator, and wall ovens.
These varying heights can complicate the normal way to determine how large your entablature should be. Here is an
example of using different crown concepts and heights in one design.
The wall cabinets have a 4 1/8” crown, proportional to their height. The rangehood area has a matching crown, minus
the egg and dart panel mould. The wall oven cabinet has the same crown as the wall cabinets, but a frieze has been
added for height and to create a furniture look.
When a crown from one cabinet is going to run into the side of another cabinet (like the area above where the wall
cabinet and wall oven cabinet meet), it is imperative to make sure the larger cabinet is deep enough to accept the
smaller cabinet, AND the crown. If you do not take this into consideration BEFORE choosing mouldings, you could get
stuck with a moulding that is too small for the cabinet.
This is another reason why moulding selection is so important and should come at the beginning of the design process,
not at the end.
Tall Cabinetry Line
84”
8 1/2” - 12”
90”
9” - 13 1/2”
96”
9 1/2” - 14 1/2”
102” - 108”
10 1/4” - 16 1/4”
120”
12” - 18”
Tall Cabinets should be treated differently than
wall cabinets. You can apply larger build-ups when
there is a long vertical unit, such as wall ovens,
refrigerators, and pantries.
Because the crown can be larger, these are perfect
areas to add a decorative frieze, a plain frieze board
with onlays, or other decorative touches to draw the
eye up.
5
One other thing to consider when choosing mouldings for cabinetry is how wide the cabinet or cabinet area will be
and how big the overall space is.
Consider the difference in the two elevations below:
This kitchen, which is featured on the cover, is located in a huge open space which includes an entry and living room
area. The ceiling actually goes up to 264” or 22’ in the center of the room, but the beams are at 160”, as noted on the
drawing.
If only the wall cabinet line (96”) were taken into consideration, the crown on the cabinets would only be around 6
3/4”(elevation on right). The crown looks compressed and unimportant. It is not proportionate to the wall of cabinets,
or to the size of the room and the beams above. Because the cabinets are all one height, they visually appear as one
unit.
The elevation with the 19” entablature shows how important it is to consider the width of the cabinets all together.
The area is 152” wide, so by adding a larger crown element, the entire area appears more square and therefore
more pleasing to the eye. This example shows how a small detail can have a huge impact in the overall look of your
cabinetry.
The table below shows how the width of a wall unit can change the size of the crown.
6
Cabinetry Line
Cabinetry Unit Width
96”
96”
8” - 12”
96”
108”
10” - 14”
96”
120”
12” - 16”
96”
144”
14” - 18”
96”
168”
16” - 20”
When determining which crown
height will work, you should take
into consideration the width of the
cabinetry unit (cabinetry all at same
height side by side). The wider the
unit, the larger the crown.
Crown Build-ups
An entablature can range from very simple to very elaborate. Size and style will dictate the results.
If the crown is small (3 1/4” - 5”H), usually only one moulding is needed to achieve this height. Anything larger results
in a multi-piece build-up. Classical architecture is full of examples of elaborate entablatures that can be adapted for use
in kitchens and baths.
Whether you want to stay true or be inspired by the classical style, the options are endless.
Below is the anatomy of a true classical entablature. There are three parts: a cornice, a frieze, and an architrave. Each
of those parts can be broken up into smaller parts. To create proportional entablatures you will need to know these
three basic parts and how they can be adapted for more traditional styles.
You will notice that the cornice, frieze, and
architrave are roughly the same height.
To adapt this entablature for kitchen design, just scale down the size, and/or simplify the parts. You will notice we have
taken the modillions off of these smaller entablatures. They range from simple to ornate but still have the basic parts of a
cornice, a frieze, and an architrave.
For more information on classical entablatures for cabinetry, see our Elaboration or Vol. 5 catalogs, or go to
www.whiteriver.com/gallery-rendering-classicalcabinetry.shtml
7
Crown Build-ups
The size of entablature that you choose will determine how many pieces the build-up will be. For most kitchens of average
size, build-ups of 1 to 5 pieces usually create a nice, proportionate entablature.
However, don’t be afraid to create more elaborate build-ups to achieve the style and proportions that you are looking for.
This table (right) gives a general idea of how many pieces it will take
to achieve a certain crown height. Simple or more traditional styles
tend to have simpler build-ups. Entablatures that stay true to the
classical style will be more elaborate.
Ceiling Crown Height
Number of pieces
4” - 5 1/2”
1-4
6” - 8”
2-6
9” - 11 1/2”
3-7
12” - 15”
4-8
14” - 20”
5 - 10
Two examples of standard classical build-ups:
MLD5868, 1X2, 1X2, MLD5846,
MLD5980, 1X8
MLD5848, MLD5915, 1X6, MLD6024,
1X4
Two examples of standard classical build-ups without an architrave:
MLD5868, MLD5903
MLD5848, MLD5916
Two examples of standard classical build-ups without a frieze or an architrave:
MLD5840, MLD5982
8
MLD5842, 1X2, MLD5976
combining mouldings
Another important factor to consider when choosing mouldings is which moulding shapes and ornament are
complementary. Before you start combining shapes, think about the overall feel you want to achieve. Will the room feel
light and airy, or be more dark, rich, and visually have more weight?
Mouldings can be broken down into two categories: curved or straight. The curved moulding shapes are either loadbearing or terminating. Here are some common curved moulding shapes:
Cavetto or Cove is terminating
Cyma Recta is terminating
Ovolo is loadbearing
Cyma Reversa is load-bearing
You will notice in the drawings above that the pattern or ornamentation on mouldings is always determined by the
shape. For example, acanthus leaves are seen on cavetto, cove, or cyma shapes. An egg and dart pattern is seen on
an ovolo, and a lamb’s tongue on a cyma reversa. Be aware of the underlying shape when choosing mouldings with
patterns, and make sure the overall shape fits in with your design.
Many mouldings are a combination of many different curves, some weight bearing and some terminating:
1
2
3
1. Egg & Dart (ovolo), a Dentil (straight), and an Acanthus Leaf (cove). The overall shape is terminating because the
cove is the largest shape and is at the top of the moulding. The dentil and egg & dart are supporting enrichments
because they are smaller, load-bearing details below the acanthus leaf.
2. Running Leaf (ovolo), a cavetto, and an Egg & Dart (ovolo). The overall shape is weight-bearing because the large
Egg & Dart pattern is at the top of the moulding. The running leaf adds decoration below the cavetto shape.
3. Lamb’s Tongue (cyma reversa), a bead pattern (on a bead shape), and a simple cyma recta. The overall shape is
terminating because the cyma recta is the largest shape and is at the top of the moulding. The lamb’s tongue and bead
are enrichment details.
In the above classical entablatures for cabinetry, you can see how important alternation and contrast are in a build-up.
There is contrast between straight and curved shapes, and alternation between convex and concave. These principles
are very important when deciding how mouldings should be put together and in what order. The overall moulding
shape should be proportionate and interesting, but also restful to the eye.
9
combining mouldings
Once you understand the scale, proportion, and language of mouldings, it is much easier to choose patterns and shape
that go well together.
Patterns can be large or small, load-bearing or terminating, and running, directional or symmetrical. A good build-up
will have a variety of these elements, put together in the right order.
Small Details are supporting:
These leaves have
movement and are
a running pattern
These coins are a
running detail, but
is more subtle
Egg & Dart is a
symmetrical, loadbearing
pattern
Lamb’s Tongue is
symmetrical and
lighter visually
Laurel with
Rosette is a
directional pattern
Large Details are usually seen as friezes and crowns:
Acanthus leaf is a
symmetrical pattern
Acanthus scrolls are a
running pattern
Running Palmettes are
symmetrical, but have
movement
Tuscan Country Frieze
is a directional pattern
Most crowns have symmetrical patterns, like Acanthus Leaves, Egg & Dart, and Flutes.
So how do you combine moulding shapes and patterns? Here is what NOT to do:
Too much
ornament, too
many large
details close
together, lacks
enrichment
details
Too much
running
ornament,
lacks variation
in size and
shape, and too
many random
patterns
Too much
small
ornament
concentrated
in one area
TIPS: Depending on how large the build-up is, pick only one or two large details either in the crown or frieze area.
Choose two or three small supporting details to complement, and make sure there is enough unornamented space (at
least 30% of build-up) in between ornament to let the eye rest.
Overall keep it simple. By only choosing a few patterns, you will maximize the impact those patterns will
have, instead of creating visual clutter where nothing stands out!
10
Adapting for cabinetry design
These Classically sized entablatures are designed specifically for cabinetry and follow the Corinthian Order styling.
These Classically sized entablatures are designed specifically for cabinetry and follow the Tuscan Order styling.
Cabinetry Line
84”
9 1/2” - 12 1/2
96”
11 1/2” - 14 1/2”
108”
13” - 17”
120”
16” - 20”
144”
21” - 24 1/2”
This table is a good reference to use when designing large cabinetry
units found in libraries, studies, or other areas.
For large shelving
units, such as the
ones seen here, the
entablature should
visually balance the
visual weight of the
bottom cabinet area.
11
These entablatures have
been sized according to the
overall cabinetry and design
application. These entablatures
are from the Corinthian Order.
We have examined many
different cabinetry scenarios
and the different ratios of
cabinetry height to the size of
entablature. Below is a summary
of the different percentages
you can use to determine good
proportions for your cabinetry.
88” cabinetry
11” entablature
Application
Entablature Height percentage
of top cabinetry line:
Normal Wall Cabinets
4 - 9%
Tall Cabinets
9 - 15%
Large Cabinetry Units
11 - 17%
96” cabinetry
12 3/4” entablature
114” cabinetry
Entablatures for these types of
cabinetry units should be 11 17 % of overall cabinet height.
The taller the cabinet, the higher
the percentage.
88” cabinetry
12
96” cabinetry
114” cabinetry
21” entablature
When working in a room that has large cabinetry units, there are different ways to work with the ceiling entablature
and the cabinetry entablature together. Notice how the different mouldings for each entablature are connected to create
an overall look.
Here we show a photograph of the library shown above. There were many elements taken into consideration when
developing the different entablatures. The cabinetry has a full & true Tuscan style entablature. Above that there is a large
frieze board with large palmettes that serves as a transition to the large adapted ceiling entablature.
13
Style Made easy
Mouldings add another dimension to kitchen and bath design. You can take everything a step further by incorporating
other design elements, like capitals, onlays and corbels.
Classical architecture is known for its use of columns and pilasters. With so many precedents to look at for inspiration,
integrating these items is quite simple.
MLD5868, MLD5846,
MLD5980, CRV5293
MLD5868, MLD5846, MLD5980,
CRV5497, MLD5819, CRV5529
MLD5867, MLD5982,
CRV5169, MLD5900,
MLD6028, CRV5292
MLD5848, MLD5915,
MLD6024, CRV5283
Wall Ovens, Refrigerators, and Rangehoods provide a great
opportunity to set your design apart. These examples reflect a
Country Palladian style, which closely follows the proportions and
design elements of classical architecture.
MLD5867, MLD5982, CRV5169,
MLD5900, CRV5250, MLD6018
When integrating corbels and capitals with the entablature, it is
important to make sure your elements line up vertically. You will
notice on the three cabinetry examples (left) that the outside edge
of the columns line up with the frieze area of the entablature. In
the top two examples, the entablature actually steps out around
the vertical elements below. This creates a beautiful visual line
and binds the vertical and horizontal elements together so they
become parts of a whole and not just individual components.
Mouldings create wonderful Rangehood designs! They are
flexible, versatile, and promote continuity. White River also
offers a wide variety of corbels to complement any moulding you
choose.
Pediments are widely used in classical design and White River
now has three styles in various sizes.
PED5663, MLD5848, MLD5915,
CRV5495, MLD5809, CRV5529
14
Style Made easy
Below are more traditional examples of how mouldings can be used in focal point areas. In these examples, you can
see how the “entablatures” do not necessarily contain a frieze or architrave. However, the designs are still visually
pleasing because proportions are still correct.
MLD5868, RH6089, CRV5495,
MLD5819, CRV5529
MLD5848, RH6089, CRV5137,
MLD5829, CRV5138, CRV5592
MLD5848, RH6089, CRV5137,
MLD5829, CRV5138, CRV5592
MLD5842, MLD6024, CRV5109,
CRV5659, MLD6018
PED5667, MLD5869, CRV5499,
MLD5819, CRV5529, MLD6018
MLD5867, MLD5982, CRV5584,
MLD6018, CRV5103, MLD6018
MLD5868, RH6086, RH6089,
CRV5282
MLD5839, MLD6018, CRV5657,
MLD6018, CRV5283
MLD5839, CRV5700,
CRV5263
MLD5848, RH6083, CRV5283
MLD5867, MLD5982,
CRV5584, MLD6018,
CRV5103
MLD5867, CRV5649,
CRV5263
15
Other Moulding Applications - Furniture & Base Cabinets
Mouldings are not only found at the top of cabinetry; they are also used as baseboards, on islands, just below
countertops, as light rails, and inset into cabinetry doors.
Using mouldings in these other applications allows you to easily create furniture pieces from plain cabinets. They add
interest, depth, and sophistication. Below are examples:
On Base Cabinet Applications:
Products Used:
MLD5840, CRV5700, CP6240, MLD5902,
CRV5592, CRV5614, CRV5620, CRV5616, MLD5616,
MLD5970, CRV5075, CRV5058, VAL6402, FT6266
CC6330, MLD5905,
MLD6018, 1X4
CRV5104, MLD5956,
1X4, DS100
MLD5978, CP6248,
FT6266
CRV5655, MLD5980,
FT6262
CRV5594, MLD6026,
MLD5903, MLD6024,
CRV5637, MLD5980, 1X4
CRV5604, MLD5864,
MLD6000, MLD6024,
MLD5830R, MLD6024,
FT6294
This kitchen buffet shows the versatility and compatibility of
mouldings with other ornamentation. An acanthus crown
sits at the top, a wide frieze separates the upper half from
the lower half, there are mouldings on the drawer and door
fronts, and mouldings form a vertical panel design on the
middle lower half.
One major key to successfully ornamenting cabinetry
is balancing the vertical components with the horizontal.
16
CRV5261, MLD6018,
1X4
MLD5846, CC6310,
MLD5979
Other Moulding Applications
When using mouldings on cabinet doors, you can choose a moulding that “lips” or use a panel mould that can fit into a
recessed area. See illustrations below:
MLD5975 can lip
1/4” to 1/2” and
accepts different
panel mould
patterns
MLD5974 can lip
1/4” and works
well with a
middle raised
panel
MLD5970 can lip
1/4” and adds a
Lamb’s Tongue
embellishment
Use MLD5616 on
the raised panel
to add more
depth and
interest
Products Used: PED5671, CO730, DS1X8, CO723, PM529, MLD5846, 1X4, CRV5172, PM595, FR8958, PM529,
FR8922, PM595, PM8525, PM8535, MLD5922, CO723, CRV5649, CRV5592, FR8920
This Morrocan Wall Unit is stunning and elaborates on how mouldings can be used to make large pieces of furniture
throughout the home. Notice how wide friezes are used vertically and horizontally. Mouldings are set into the face of
the doors and also create beautiful panels that hold hand-carved onlays.
For more design ideas, go to www.WhiteRiver.com/gallery.shtml
17
Furniture
Staying true to a classical formula usually results in a more sophisticated look.
This cabinetry unit is styled after Classical Tuscan architecture. There are few ornaments and patterns, but bold shapes
give visual weight and substantial interest.
Products used:
CR806, DE169, PM539, CRV5568, PM540, CRV5636, MLD5975, PM526,
TC140, TC120, CRV5616, CC6331H, CC6331, PM526, FT6295
18
classical tradition
Classical proportions can be applied to any style – even Arts & Crafts. The wall is broken up into a center bay that
includes the tallest cabinetry and rangehood, and then two smaller bays of wall cabinets on either side. Notice the
classical proportions within the adapted ceiling entablature that create depth and interest by wrapping along the top of
the center bay of cabinetry.
The flanking wall cabinets have an adapted entablature with matching mouldings with the addition of a small raised
pyramid motif. This motif is repeated as a light moulding at the bottom of the wall cabinets, in the cabinetry door
styles and hardware, and the square panel in the center of the rangehood.
Modern looking pilasters add a nice touch above the Rangehood area. The Corbels on the Rangehood line up with
the pilasters above to create visual continuity and order. Vertical panels seen below in the base cabinets add to this
vertical continuity. The narrow corbels below the wall cabinets match the larger corbels on the rangehood and help to
create a visual vertical border for the cabinetry wall as a whole.
This type of kitchen design can universally be used in many different homes with many different styles. By simply
changing the cabinetry style and colors, you can integrate this wall of cabinets seamlessly into another room. The
reason why this design is so appealing is because of the pronounced center focal point, and the element of 3 – odd
numbers of cabinetry bays are often more appealing and can actually enhance symmetry within a room.
Products Used: MLD5868, MLD6024, MLD5956, CRV5580, MLD5830T, CRV5584, B435, CRV5102, CRV5104
19
“Classical architecture is a continuing encounter between the achievements of the past and the concerns of the present. The
continuing tradition of the classical allows experience from the past to be made available for present use and, conversely,
allows the present to be contemplated from a timeless point of view. All classical art and architecture is, in this sense,
contemporary.”
- Steven W. Semes, The Architecture of the Classical Interior
As a Designer, it is your job to collect ideas, make them your own, and create beautiful spaces for others to enjoy. Use the
invaluable tools of classical design principles to explore new design possibilities. In doing so, you expand your imagination
and, in the process, become a better Designer.
For more design ideas and our full range
of classically-inspired products, visit
www.whiteriver.com
www.WhiteRiver.com for End-To-End Design Solutions
20-20 Technologies & Planit Solution Downloads • CAD • Online Catalogues
1.800.558.0119 • 479.442.6986 • Fax 479.444.0406 • E-mail [email protected]
• 35 Years of Millwork Excellence •

llustrative Guide to Classical Moulding Design for

Transcription

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