|Forerunner of the punch card, Jacquard looms were the|
first machines to be automatically controlled
to produce complex patterns. Automated woodworking
machines were not far behind.
By the mid-1800s, steam-powered machines, some controlled by rudimentary punch-card systems much like those found in player-pianos, were already being used to mass-produce many consumer items cheaply. Among those products was what we nowadays call “gingerbread”—architectural ornament such as moldings, brackets, and balusters.
|"Hand-carved" Victorian ornament?|
Not likely. Everything on this
Victorian millwork catalog
was cranked out by machine.
We’re entering a similar architectural zeitgeist today. A number of manufacturing innovations, both high-tech and otherwise, are making ornament both more available and more affordable than it has been for decades.
Not coincidentally, these developments dovetail with the current trend toward traditional architecture. As a result, we’re seeing a lot more ornament both outside and inside buildings. Here are a few examples:
• Architectural features such as columns, balusters, and urns are now widely available again, not only in traditional cast-stone form but also in high-tech materials such as glass-fiber reinforced concrete and fiber glass. The latter are often used to replace original cast-stone detailing where seismic considerations make the weight of the real thing impractical.
|Victorian gable ornament.|
After 1840 or so, you could
buy them by the boxful.
• Highly ornate hardwood floor inlays are now manufactured using lasers, making inlaid borders and decorations—once astronomically expensive—much more affordable. They’re available as stock items, and can simply be integrated with standard hardwood flooring for a custom look.
• Victorian interior moldings such as cornices, medallions, and brackets are now being reproduced in plastics and other composite materials. They’re cheaper than plaster, and also much lighter and hence more earthquake-safe. They can frequently pass for the real thing once they’re painted.
|Nowadays, we use automation to create incredibly intricate|
ornament., such as the laser-cut inlay in this hardwood floor.
But is more ornament necessarily better?
Just as in Victorian times, there’s a potential danger in all these ornamental products: You may be tempted to use them simply because they’re available, not because they make for better architecture. As always, you should rely on your own taste—not trend-watchers such as design magazines—to decide how much is too much. The Victorians had a hard time knowing when to stop. We’ll see how our own generation fares in a decade or two.