{"id":1147,"date":"2017-04-04T19:32:41","date_gmt":"2017-04-04T19:32:41","guid":{"rendered":"https:\/\/joaquinlois.com\/proyectoclarin\/construccion\/"},"modified":"2022-06-02T10:59:23","modified_gmt":"2022-06-02T10:59:23","slug":"construction","status":"publish","type":"page","link":"https:\/\/joaquinlois.com\/proyectoclarin\/en\/construction\/","title":{"rendered":"Construction_ Philosophy and Techniques<\/small>"},"content":{"rendered":"

The study of the aesthetics, cultural context and building techniques is the way to get closer to\u00a0the nature of the Spanish Baroque organs.\u00a0Tackling a project from an historicist point of view in the 21st century is\u00a0a radical decision since in some ways going back to former techniques entails an effort equivalent to the one it was made when they were developed.\u00a0In any case, we are aware that the techniques alone will not lead\u00a0us\u00a0to the genuine spirit of these Castilian instruments, but their knowledge avoids\u00a0that modern technology, indispensable nowadays, moves us away from that spirit of craftsmanship, unique to the Castilian organ builders from the 18th century.<\/p>\n

The case<\/h2>\n

The architecture and ornamentation of the cases built for this project are a fundamental part of it, and their design, concept and execution adhere completely to the style recreated. The pipes on the facade, the action and the aesthetics of the period that we recreate are some of the defining and essential features of these cases.\u00a0For the construction of the cases, we use good-quality, dry, solid wood, selecting the more appropriate type of wood for each project.\u00a0We follow the Baroque patterns when carrying out the ornamentation and composition, and the carvings are handmade.<\/p>\n

\"\"<\/a>
Carvings<\/figcaption><\/figure>\n
\"\"<\/a>
Carvings details. Construction process<\/figcaption><\/figure>\n

Regarding polychromy, we recreate the decorations made around the 1750s following\u00a0the canon of that period, namely polychrome flat surfaces\u00a0and carvings and cornices backed in gold leaf.\u00a0The techniques we use are the traditional ones in this field: plaster stucco over wood and tempera of different colors with natural pigments. The carvings and moldings are gilt over a mix of plaster and bole. For the finishing, we use resistant varnish.\u00a0When there is no polychromy, we build cases made of hardwood, like oak, cedar, etc.<\/p>\n

\"Diferentes<\/a>
Different finishes of the organs built for the Clar\u00edn Project<\/figcaption><\/figure>\n

The instrument<\/h2>\n

Simplicity is a characteristic feature of these organs, specially regarding\u00a0the action, windchests and wind supply. The “machinery” is built according to models of that time and employing the traditional techniques used in Castile that\u00a0have proven to be the most effective for the last 250 years. The windchest, with sliders as it was common, is made of very dry pine or cedar wood of very high quality; the sliders are made of walnut wood. This detail can be found in the works of the best Castilian workshops from the 18th century.<\/p>\n

\"Arca
Chromatic arrangement\u00a0of the notes. Every stop is split.<\/figcaption><\/figure>\n

The grooved blocks are the most complex aspect. They link this sequence of notes with the pattern of the pipes on the facade. We consider this is\u00a0a key feature in Iberian organs.<\/p>\n

\"Detalles<\/p>\n

The instrument has also a small grooved block for the Viol\u00f3n bass notes, and a raised small windchest for the Corneta. Made of solid, neat and very dry wood, they are grooved on both sides, and all possible friction points are secured with leather. All pieces are wrapped in bald\u00e9s <\/em>(tanned sheep leather), traditionally used in Castilian organs.<\/p>\n

\n

The key action<\/strong> is always suspended and very simple, which guarantees this soft and delicate\u00a0touch characteristic of our organs. Usually it has roller board reduction and wooden trackers. The registry action is very straightforward and simple as well. Its design may vary depending on the project, but the basic elements are always made of wrought iron, and the pulls and connecting rods are made of wood. All the elements\u00a0are made following the model and the traditional techniques. Some of the traditional techniques have not been employed in order to preserve the safety\u00a0and stability of the action, such as\u00a0the use of wrought nails for fixing the upper-boards and sliders in the windchest.<\/p>\n

\"Detalle<\/p>\n

\n

We pay special attention to the<\/strong>\u00a0keyboards <\/strong>as well, both to their look and size and to the technical characteristics in order to provide a precise, smooth and delicate\u00a0touch as well as the aesthetics they deserve.<\/p>\n

\"Teclado<\/a>
Bone or boxwood veneered keyboard<\/figcaption><\/figure>\n
\n

The pipe work\u00a0<\/strong>is the aspect in which we try to delve into the most in terms of principles and the process development. We focus on the quality and the measurements of the model we have chosen or those used by the best master organ builders. All of the metal pipe work is built with a tin-lead alloy, achieving good thickness and a solid construction. The principle of “one size” for each group\u00a0of labial stops is a very common practice\u00a0in Castilian organs from the 18th century.<\/p>\n

\"Detalle
Clar\u00edn Opus I pipe work details<\/figcaption><\/figure>\n

When we build a\u00a0replica, all of the original elements of the model are replicated\u00a0accurately and faithfully. The metal is cast\u00a0pouring it over cloth; the manual brushing is made in crosswise direction,\u00a0following the traditional technique.<\/p>\n

Casting of the\u00a0metal sheets, manually forged,\u00a0and construction of the pipes.<\/p>\n

\"\"<\/a>
Working on the pipes<\/figcaption><\/figure>\n

\"Trabajando<\/a><\/p>\n

The languids are made of lead.
\nThe reed stops\u00a0are built using\u00a0traditional materials and techniques as well.
\nThe shallots have welded lids if they are recreating some Spanish school.<\/p>\n

\n

The\u00a0bellows<\/span><\/strong>, usually two or three, have six folds and levers. They are all made in pine or cedar wood and bald\u00e9s<\/span><\/em>\u00a0(tanned sheep leather).<\/p>\n

\"Detalle
Wedge bellows construction detail<\/figcaption><\/figure>\n
\n

The <\/strong>harmonization<\/strong> and tuning<\/span> must reflect\u00a0the effort put into the construction of all the\u00a0elements\u00a0of the organ, for they are the ultimate goal of all that work. We try to follow accurately the principles and spirit of the instruments we recreate. We adhere to the main characteristics and details of the original model or the chosen school in each project in order to get the traits\u00a0of the stops independently and as a whole. \u00a0The tuning pitch and wind pressure are determined depending\u00a0on the project, but they are always low pressures. The temperament used in Castile until well into the 19th century is the classic meantone temperament, although other variations are\u00a0considered based on\u00a0the musical interests of the recipient.<\/p>\n

\"Diagrama
Interval diagram, Francisco de Salinas (1577)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

The study of the aesthetics, cultural context and building techniques is the way to get closer to\u00a0the nature of the Spanish Baroque organs.\u00a0Tackling a project from an historicist point of view in the 21st century is\u00a0a radical decision since in some ways going back to former techniques entails an effort equivalent to the one it […]<\/p>\n","protected":false},"author":1,"featured_media":857,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-proyecto-clarin.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1147","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nConstruction_ Philosophy and Techniques - Proyecto Clar\u00edn<\/title>\n<meta name=\"description\" content=\"The study of the aesthetics, cultural context and building techniques is the way to get closer to\u00a0the nature of the Spanish Baroque organs.\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Construction_ Philosophy and Techniques - 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