Mouldings and Pediments C101

Total Page:16

File Type:pdf, Size:1020Kb

Mouldings and Pediments C101 MOULDINGS AND PEDIMENTS MAPLE AND CHERRY IN-STOCK An abundance of classically-expressed moulding detail creates amazing designs. Columns, capitals, entablatures, door panels, and more. Collections features: Handcarved Mouldings, Capitals, and Corbels • Traditional Mouldings Products specifi ed: CRV5500, CRV5530, CRV5604, MLD6000, MLD5820 C101 White River Designs © Copyrights 1989-2009 WhiteRiver.com l 800.558.0119 CROWN MOULDINGS MAPLE AND CHERRY IN-STOCK 3” 3 3/4” MLD5839 - X-Large Acanthus Crown 4 3/4” x 13/16” 120.7 x 20.6 mm Repeats 4 3/8” 3” 3 3/4” MLD5840 - Large Acanthus Crown 4 3/4” x 13/16” 120.7 x 20.6 mm Repeats 3 1/2” MLD5839, MLD5978 2 1/4” 2 3/4” MLD5842 - Medium Acanthus Crown 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 2 1/2” MLD5839 1 1/2” panel mould 1 5/8” MLD5839 1 7/8” 3 1/2” frieze MLD5844 - Small Acanthus Crown 2 1/2” x 13/16” 63.5 x 20.6 mm Repeats 1 3/4” 2” 2 1/4” MLD5846 - Medium Egg and Dart Crown 3” x 13/16” 76.2 x 20.6 mm Repeats 2 3/4” C102 Maple and Cherry 8’ lengths In-Stock l 8’ minimum order l Please allow 20% extra for pattern repeats and waste Repeats and carvings may vary slightly due to the nature of the handcarving process. WhiteRiver.com l 800.558.0119 White River Designs © Copyrights 1989-2009 CROWN MOULDINGS MAPLE AND CHERRY IN-STOCK 3” 3 3/4” MLD5848 - Large Egg and Dart Crown 4 3/4” x 13/16” 120.7 x 20.6 mm Repeats 1 3/4” 2 1/4” 2 3/4” MLD5860 - Medium Fluted Crown 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 2” 2 3/8” 2 5/8” MLD5864 with MLD6002 insert MLD5864 - Large Traditional Cove Crown 3 1/2” x 13/16” 88.9 x 20.6 mm 3 1/2” x 13/16” 88.9 x 20.6 mm 1 5/8” 1 7/8” MLD5866 with MLD6002 insert 2 1/2” x 13/16” 63.5 x 20.6 mm MLD5866 - Medium Traditional Cove Crown 2 1/2” x 13/16” 63.5 x 20.6 mm 2 1/4” 3 1/4” 3 3/8” 2 3/4” MLD5868 - Traditional Crown 3 1/2” x 13/16” 88.9 x 20.6 mm MLD5867 - Traditional Crown 4 1/2” x 13/16” 114.3 x 20.6 mm 1 5/8” 2” MLD5869 - Traditional Crown MLD5867 accepts 2 1/2” x 11/16” 63.5 x 17.5 mm panel moulds & friezes When designing with resin, product can distort if cast to a radius that is too tight l For more information, go to M506-M507 C103 All curved components, whether resin or wood, take layout and thoughtful consideration for a successful installation. White River Designs © Copyrights 1989-2009 WhiteRiver.com l 800.558.0119 FRIEZE MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5900 - Large Sicilian Frieze 5 1/4” x 13/16” 133.4 x 20.6 mm Repeats 15 1/2” MLD5902 - Large Tuscan Country Frieze 5 1/4” x 13/16” 133.4 x 20.6 mm Repeats 21” MLD5903 - Running Palmette 5 1/4” x 13/16” 133.4 x 20.6 mm Repeats 9 3/4” C104 White River provides custom services for species, profi les, sizes, and motifs. Species In-Stock for custom mouldings: Northern Soft & Hard Maple, Alder, Red & White Oak, Walnut, Mahogany, Cherry, & Lindenwood. WhiteRiver.com l 800.558.0119 White River Designs © Copyrights 1989-2009 FRIEZE MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5905 - Acanthus Frieze 4” x 13/16” 101.6 x 20.6 mm Repeats 3 1/8” MLD5910 - Sicilian Frieze 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 9 1/4” MLD5912 - Tuscan Country Frieze 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 13 1/4” MLD5914 - Acanthus Scrolls 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 10” Produced from clear lumber l Allowable character marks l Dime-sized closed knots C105 2” end split l 7’9” net, charged as 8’ l Slight defects less than ¼” x ¼” l Color variations White River Designs © Copyrights 1989-2009 WhiteRiver.com l 800.558.0119 FRIEZE MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5915 - Large Pierced Acanthus Scrolls 3” x 3/4” 76.2 x 19.1 mm Repeats 13” MLD5917 - Pierced Acanthus Scrolls 2” x 5/8” 50.8 x 15.9 mm Repeats 8 3/4” MLD5916 - Vineyard Frieze 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 17 3/4” MLD5918 - Cornucopias 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 8” MLD5920 - Palmette For X-Large Palmette Motifs see page C404. 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 1 3/4” C106 Maple and Cherry 8’ lengths In-Stock l 8’ minimum order l Please allow 20% extra for pattern repeats and waste Repeats and carvings may vary slightly due to the nature of the handcarving process. WhiteRiver.com l 800.558.0119 White River Designs © Copyrights 1989-2009 FRIEZE AND PANEL MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5922 - Running Palmette 3 1/2” x 13/16” 88.9 x 20.6 mm Repeats 6” MLD5924 - Woven Frieze 3 1/4” x 13/16” 82.6 x 20.6 mm Repeats 2” MLD5926 - Sunfl owers 3” x 13/16” 76.2 x 20.6 mm Repeats 3 3/8” MLD5928 - Laurel with Rosette 3” x 13/16” 76.2 x 20.6 mm Repeats 7” MLD5940 - Acanthus Panel Mould 1 1/2” x 5/8” 38.1 x 15.9 mm Repeats 1 5/8” MLD5942 - Running Leaf 1 1/2” x 11/16” 38.1 x 17.5 mm Repeats 1 5/8” When designing with resin, product can distort if cast to a radius that is too tight l For more information, go to M506-M507 C107 All curved components, whether resin or wood, take layout and thoughtful consideration for a successful installation. White River Designs © Copyrights 1989-2009 WhiteRiver.com l 800.558.0119 PANEL MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5944 - Acanthus Wave 1 1/2” x 11/16” 38.1 x 17.5 mm Repeats 1 3/8” MLD5946 - Laurel with Rosette 1 1/2” x 11/16” 38.1 x 17.5 mm Repeats 5 5/8” MLD5948 - Flowers with Fret 1 1/2” x 11/16” 38.1 x 17.5 mm Repeats 1 3/4” MLD5949 - Woven Panel Mould 1 1/2” x 11/16” 38.1 x 17.5 mm Repeats 1 3/4” MLD5950 - Running Coin 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 5/8” MLD5952 - Vitruvian Wave 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 1 1/8” MLD5954 - Spring Flowers 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 3 3/4” MLD5956 - Classic Buttons 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 1” C108 White River provides custom services for species, profi les, sizes, and motifs. Species In-Stock for custom mouldings: Northern Soft & Hard Maple, Alder, Red & White Oak, Walnut, Mahogany, Cherry, & Lindenwood. WhiteRiver.com l 800.558.0119 White River Designs © Copyrights 1989-2009 PANEL MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5958 - Palmette 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 3/4” MLD5960 - Running Weave 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 3/4” MLD5962 - Running Palmette 1 1/2” x 9/16” 38.1 x 14.3 mm Repeats 2 5/8” MLD5964 - Twisting Ribbon 1 1/4” x 3/4” 31.8 x 19.1 mm Repeats 1 1/8” MLD5966 - Running Coin 2 1/8” x 5/8” 54 x 15.9 mm Repeats 1 1/8” MLD5976 - Egg and Dart 3/4” x 5/8” 19.1 x 15.9 mm Repeats 1 7/8” MLD5978 - Egg and Dart 1 1/4” x 13/16” 31.8 x 20.6 mm Repeats 2 3/8” MLD5979 - Egg and Dart 1” x 3/4” 25.4 x 19.1 mm Repeats 1 5/8” Produced from clear lumber l Allowable character marks l Dime-sized closed knots C109 2” end split l 7’9” net, charged as 8’ l Slight defects less than ¼” x ¼” l Color variations White River Designs © Copyrights 1989-2009 WhiteRiver.com l 800.558.0119 PANEL MOULDINGS MAPLE AND CHERRY IN-STOCK MLD5980 - Lamb’s Tongue 1 1/4” x 11/16” 31.8 x 17.5 mm Repeats 1 1/2” MLD5982 - Dentil 2 3/8” x 11/16” 60.3 x 17.5 mm Repeats 1” MLD5986 - Bellfl ower and Bead 3/4” x 1/2” 19.1 x 12.7 mm Repeats 1 7/8” MLD5968 - Egg and Dart Lipping Panel Mould 1 1/2” x 3/4” 38.1 x 19.1 mm lips 1/4” to 1/2” MLD5970 - Lamb’s Tongue Lipping Panel Mould 1 1/2” x 3/4” 38.1 x 19.1 mm lips 1/4” to 1/2” MLD5972 - Running Coin Lipping Panel Mould 1 1/2” x 3/4” 38.1 x 19.1 mm lips 1/4” to 1/2” MLD5974 - Traditional Lipping Panel Mould 1 1/2” x 3/4” 38.1 x 19.1 mm lips 1/4” to 1/2” MLD5975 - Traditional Lipping Panel Mould profi le Great Detail with MLD5975 with MLD6004 2 1/4” x 13/16” 57.2 x 20.6 mm lips 1/4” to 3/4” insert C110 Maple and Cherry 8’ lengths In-Stock l 8’ minimum order l Please allow 20% extra for pattern repeats and waste Repeats and carvings may vary slightly due to the nature of the handcarving process.
Recommended publications
  • New Fragmenti's of the Parthenon Acroteria
    NEW FRAGMENTI'SOF THE PARTHENON ACROTERIA (PLATE 56) WOULD like to call attention to two new fragments of the floral acroteria of the Parthenon found recently in the storerooms of the Athens Acropolis Museum.' They are both palmette petals and join break-on-break to Acropolis Museum inv. no. 3442, a fragment from the right crowning half-palmette of Acroterion A (P1. 56: a, b, with new fragments in place).2 The new fragments are from the outermost petals of the crowning palmette and represent parts of these petals not preserved in the fragment of the corresponding left half-palmette of A, Acropolis Museum inv. no. 3446.3 The position of the outer petals is now known for the greater part of their length and their tips can be restored with increased surety. The larger of the new fragments shows clearly that the petal of which it is a part lies in a double curve, the lower part of the petal bending away from, the upper part toward the median line. This double curve, a characteristic of the so-called flame palmette, has been assumed in reconstructions of the Parthenon acroteria on the basis of later parallels; it is attested by the new fragments for the first time. 1 I am grateful to Dr. George Dontas, Ephor of the Acropolis, for permission to publish these fragments, and to Mrs. Maria Brouskari for generously facilitating my work in the museum. I am grateful also to Eugene Vanderpool, Jr. for the accompanying photographs, and to William B. Dinsmoor, Jr. for the new reconstruction of the crowning palmette.
    [Show full text]
  • Discover the Styles and Techniques of French Master Carvers and Gilders
    LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig.
    [Show full text]
  • Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, Ca
    University at Albany, State University of New York Scholars Archive Anthropology Honors College 5-2013 Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, ca. 2500-2000 B.C.E. Donovan Adams University at Albany, State University of New York Follow this and additional works at: https://scholarsarchive.library.albany.edu/honorscollege_anthro Part of the Anthropology Commons Recommended Citation Adams, Donovan, "Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, ca. 2500-2000 B.C.E." (2013). Anthropology. 9. https://scholarsarchive.library.albany.edu/honorscollege_anthro/9 This Honors Thesis is brought to you for free and open access by the Honors College at Scholars Archive. It has been accepted for inclusion in Anthropology by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, ca. 2500-2000 B.C.E. An honors thesis presented to the Department of Anthropology, University at Albany, State University of New York in partial fulfillment of requirements for graduation with Honors in Anthropology and graduation from the Honors College. Donovan Adams Research Advisor: Stuart Swiny, Ph.D. March 2013 1 Abstract The Early Bronze Age of Cyprus is not a very well understood chronological period of the island for a variety of reasons. These include: the inaccessibility of the northern part of the island after the Turkish invasion, the lack of a written language, and the fragility of Cypriot artifacts. Many aspects of protohistoric Cypriot life have become more understood, such as: the economic structure, social organization, and interactions between Cyprus and Anatolia.
    [Show full text]
  • The Rinceau Design, the Minor Arts and the St. Louis Psalter
    The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1
    [Show full text]
  • THE PASSAGE of LOTUS ORNAMENT from EGYPTIAN to THAI a Study of Origin, Metamorphosis, and Influence on Traditional Thai Decorative Ornament
    The Bulletin of JSSD Vol.1 No.2 pp.1-2(2000) Original papers Received November 13, 2013; Accepted April 8, 2014 Original paper THE PASSAGE OF LOTUS ORNAMENT FROM EGYPTIAN TO THAI A study of origin, metamorphosis, and influence on traditional Thai decorative ornament Suppata WANVIRATIKUL Kyoto Institute of Technology, 1 Hashigami-cho, Matsugasaki, Sakyo-ku, Kyoto 606-8585, Japan Abstract: Lotus is believed to be the origin of Thai ornament. The first documented drawing of Thai ornament came with Buddhist missionary from India in 800 AD. Ancient Indian ornament received some of its influence from Greek since 200 BC. Ancient Greek ornament received its influence from Egypt, which is the first civilization to create lotus ornament. Hence, it is valid to assume that Thai ornament should have origin or some of its influence from Egypt. In order to prove this assumption, this research will divine into many parts. This paper is the first part and serves as a foundation part for the entire research, showing the passage, metamorphosis and connotation of Thai ornament from the lotus ornament in Egypt. Before arriving in Thailand, Egyptian lotus had travelled around the world by mean of trade, war, religious, colonization, and politic. Its concept, arrangement and application are largely intact, however, its shape largely altered due to different culture and belief of the land that the ornament has travelled through. Keywords: Lotus; Ornament; Metamorphosis; Influence; Thailand 1. Introduction changing of culture and art. Traditional decorative Through the long history of mankind, the traditional ornament has also changed, nowadays it can be assumed decorative ornament has originally been the symbol of that the derivation has been neglected, the correct meaning identifying and representing the nation.
    [Show full text]
  • The Grottesche Part 1. Fragment to Field
    CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed.
    [Show full text]
  • Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
    Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors.
    [Show full text]
  • Shape Numbers Vs. Etched Patterns Shape Number Etched Pattern Illustration 938 Vase Acanthus 938 Vase Bird #1 1932 Catalog, Dimitroff Fig
    Shape numbers vs. Etched Patterns Shape Number Etched Pattern Illustration 938 Vase Acanthus 938 Vase Bird #1 1932 Catalog, Dimitroff Fig. 5.36 938 Vase Fish Dimitroff Page 278 938 Vase Floral 938 Vase Indian 938 Vase Mansard 938 Vase Marlene 1932 Catalog 938 Vase Matzu 1932 Catalog 938 Vase Modern 938 Vase Peacock 938 Vase Racient 938 Vase Thistle 938 Vase Warwick 954 Shade Adams 995 Shade Acanthus 995 Shade Acorn 995 Shade Adams with Heads 995 Shade Adams with Shield 995 Shade Corinthian (Corinthia) 995 Shade Cornucopia 995 Shade Elizabethan 995 Shade Festoon 995 Shade Figure Festoon 995 Shade Greek Figure 995 Shade Greek Key 995 Shade Hepple 995 Shade Ivy 995 Shade Landscape 995 Shade Scroll 995 Shade Sheraton 995 Shade Shield 995 Shade Shield and Festoon 995 Shade Stratford 995 Shade Trenton 995 Shade Versailles 1414 Cologne Carved 2028 Plate Chinese Dimitroff Page 276 2039 Vase Bat 2039 Vase Lotus 2138 Vase Dover Dimitroff Page 267 2144 Vase Lotus 2144 Vase Moderne Dimitroff Page 270 2144 Vase Sculptured Dimitroff Page 271 2184 Vase Hare Bell 2217 Shade Banquet 2217 Shade Japanese 2217 Shade Monarch 2217 Shade Persian 2217 Shade Raised Leaf 2228 Shade Figure, Dancing 2241 Shade Leaf 2247 Shade Adams 2247 Shade Rennaisance 2249 Shade Rennaisance 2279 Shade Shield and Festoon 2292 Shade Adams Head 2292 Shade Warwick 2311 Shade Adams 2328 Shade Cupid 2328 Shade Festoon with Heads 2328 Shade Greek Figure 2328 Shade Ivy Leaf 2346 Shade Adams Rosette 2346 Shade Figure Rosette 2346 Shade Georgian 2346 Shade Gothic 2346 Shade Kenilworth
    [Show full text]
  • Aws Edition 1, 2009
    Appendix B WS Edition 1, 2009 - [WI WebDoc [10/09]] A 6 Interior and Exterior Millwork © 2009, AWI, AWMAC, WI - Architectural Woodwork Standards - 1st Edition, October 1, 2009 B (Appendix B is not part of the AWS for compliance purposes) 481 Appendix B 6 - Interior and Exterior Millwork METHODS OF PRODUCTION Flat Surfaces: • Sawing - This produces relatively rough surfaces that are not utilized for architectural woodwork except where a “rough sawn” texture or nish is desired for design purposes. To achieve the smooth surfaces generally required, the rough sawn boards are further surfaced by the following methods: • Planing - Sawn lumber is passed through a planer or jointer, which has a revolving head with projecting knives, removing a thin layer of wood to produce a relatively smooth surface. • Abrasive Planing - Sawn lumber is passed through a powerful belt sander with tough, coarse belts, which remove the rough top surface. Moulded Surfaces: Sawn lumber is passed through a moulder or shaper that has knives ground to a pattern which produces the moulded pro[le desired. SMOOTHNESS OF FLAT AND MOULDED SURFACES Planers and Moulders: The smoothness of surfaces which have been machine planed or moulded is determined by the closeness of the knife cuts. The closer the cuts to each other (i.e., the more knife cuts per inch [KCPI]) the closer the ridges, and therefore the WS Edition 1, 2009 - [WI WebDoc [10/09]] smoother the resulting appearance. A Sanding and Abrasives: Surfaces can be further smoothed by sanding. Sandpapers come in grits from coarse to [ne and are assigned ascending grit numbers.
    [Show full text]
  • Preserving Historic Ornamental Plaster David Flaharty
    PRESERVATION BRIEFS Preserving Historic Ornamental Plaster David Flaharty U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services From the time America struggled for a new identity as the 1930s. During this two hundred year period, as the a constitutional republic-and well into the 20th Georgian and Federal styles yielded to the revivals­ century-its architecture and its decorative detailing Greek, Rococo, Gothic, Renaissance, and Spanish­ remained firmly rooted in the European classicism of decorative plaster reflected each style, resulting in the Palladio, Wren, and Mansart. wide variety of ornamentation that survives. The tradi­ tional methods of producing and installing interior Together with skilled masons and carpenters, orna­ decorative plaster were brought from Europe to this mental plasterers saw their inherited trade flourish country intact and its practice remains virtually un­ from the mid-18th century until the Depression years of changed to this day. Fig. 1. Ornamental plaster studios employed the following personnel: Draftsmen to interpret architectural details in shop drawings; sculptors who modelled in clay; model makers who assembled sculpted, plain-run and pre-cast elements into an ornamental unit; moldmakers who made rigid or flexible negative tooling; casters who made production units; finishers (often the caster's wives) who cleaned the casts; and laborers who assisted skilled personnel in operating efficiently. This studio was in Philadelphia, c. 1915. Photo: Courtesy, M. Earle Felber. Styles of Decorative Plaster in America, 18th-20th Centuries d e (a) Kenmore, Fredericksburg, Virginia. c. 1752. Georgian in style with orna­ mental ceilings based on Batty Langley's 1739 English style book, the plaster­ work was executed by a Frenchman in the mid-1770s.
    [Show full text]
  • Designing Style: a Guide
    DESIGNING STYLE A Guide to Designing with Today’s Vinyl Siding CONTENTS Architectural Styles Cape Cod Italianate French Colonial Queen Anne Georgian Folk Victorian Federal/Adam Craftsman Greek Revival Product Overview Traditional Profiles Color and Texture Specialty Profiles The Vinyl Siding Institute developed Designing Style: A Guide to Designing with Today’s Architectural Trim and Other Accessories Vinyl Siding as a resource for designing with and/or specifying vinyl and other polymeric Soffit siding, architectural trim, and accessories. We believe the most effective way to communicate the breadth and depth of products available today — and the creative, limitless possibilities Photo Gallery for design – is by example. Throughout this guide, we’ve included many photographs and illustrations plus information to help create each specific architectural style. Appendix Contents Architectural Styles Product Overview Photo Gallery Architectural Styles This guide showcases nine house designs, each featuring a different architectural style used as precedent. The specific design examples are not intended to represent strict architectural principles, but rather demonstrate design variations inspired by each style. Styles used as precedent were selected from the Colonial, Romantic, Victorian, and Eclectic periods of architecture. They include: Cape Cod Federal/Adam Queen Anne French Colonial Greek Revival Folk Victorian Georgian Italianate Craftsman Each featured style offers an explanation of its distinguishing characteristics and an overview of suggested vinyl siding profiles, colors, architectural trim, and accessories available to help achieve its look, with all of its rich detail. A variety of photographs are included to demonstrate how each style has been interpreted through designs using vinyl siding. The possibilities for residential design are as limitless as your imagination.
    [Show full text]
  • Study of the Ornamentation of Bhong Mosque for the Survival of Decorative Patterns in Islamic Architecture
    Frontiers of Architectural Research (2018) 7, 122–134 Available online at www.sciencedirect.com Frontiers of Architectural Research www.keaipublishing.com/foar RESEARCH ARTICLE Study of the ornamentation of Bhong Mosque for the survival of decorative patterns in Islamic architecture Madiha Ahmada,b, Khuram Rashidb,n, Neelum Nazc aDepartment of Architecture, University of Lahore, Pakistan bDepartment of Architectural Engineering and Design, University of Engineering and Technology, Lahore, Pakistan cDepartment of Architecture, University of Engineering and Technology, Lahore, Pakistan Received 15 November 2017; received in revised form 15 March 2018; accepted 16 March 2018 KEYWORDS Abstract Bhong Mosque; Islamic architecture is rich in decorative patterns. Mosques were constructed in the past as Decorative patterns; simple buildings for offering prayers five times a day. However, in subsequent periods, Categorization; various features of ornamentation in the form of geometry and arabesque were applied to Geometry; the surfaces of mosques to portray paradise symbolically. This research applied descriptive Arabesque approaches to examine the surviving patterns of the Aga-Khan-awarded Bhong Mosque and categorized these patterns as geometric and arabesque. This categorization was achieved by photography, use of software for patterns, and conducting interviews with local elderly persons in the region. The geometric patterns were simple 6- and 8-point star patterns. Several of the earliest examples of rosette petals exhibited 8- and 10-point star patterns and were categorized by incorporating the geometric style and location of mosques. This research investigated different arabesque categories and inscription types and determined the aesthetic and cultural reasons for their placement on various surfaces. Frescoes had different types of flowers, fruits, and leaves, and a few of them belonged to the local region.
    [Show full text]