Joaquín Fonollosa

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About Joaquín Fonollosa

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  1. niNew design, made with rectangles and snails, yes.
  2. Kochansky, del Gesú, 1741. Perhaps this is the perfect example.
  3. The rectangle has to be necessarily golden to be able to trace the spiral. Phi appears in the relationship between its sides. Nothing else.
  4. These are the tools necessary to design a violin mold. The measurement of the side of the initial square can be varied a little +/- 2mm.
  5. I regret not being able to offer you, for the moment, a compendium of the design system that I propose. However, I think I already gave them the necessary elements. I invite you to take it to practice to check its effectiveness. And to improve it with their own knowledge. I do not have the possibility to make a violin with my system, because I do not dedicate myself professionally to the luthería, I am only a big fan of this trade. So I urge you, if you think so, to build a violin whose mold has been designed with my system, and thus check if it works and is aesthetically attractive. Try to get all the information that the double spiral template can provide. I have come to obtain the measurements of all the elements and their position. If you decide to carry it out, stick to the method, to the lines provided by the template, straight, curved and tangent to curves. If I could, I would do it myself.
  6. Mr. Max seems certainly complex. If it catches my attention it is because he wanted to see a link between Pacioli, Dürer, Da Vinci and Amati.
  7. No, I do not know the postulates of this German luthier. Let's keep going!!
  8. People who seem to have nothing in common ....... ... "The luthier Max Möckel, who worked at the end of the 19th century in St. Petersburg and Berlin, did not rest until he had investigated the true origin of the architectural and sonic beauty of the violin. His idea was to investigate whether, in the light of knowledge of the Renaissance, it might be possible to discover what role Leonardo da Vinci, Luca Pacioli and Alberto Durero had played in the instrument construction revolution, so he began to look for clues to support his hypotheses in the works of these great artists, and he came to The following conclusion: Is there really an Italian secret? Yes and no. If we think of this as some kind of recipe, hidden somewhere in an old trunk, then no. . . We must move to the time when the violin was invented, and to the ideas with which the old masters created their works. . . The most important minds, to name two of them, Leonardo da Vinci and his friend Luca Pacioli, had been interested shortly before, in their work of so many facets, in mathematical problems, and when they saw the triangle and the pentagon, they did not see them merely as simple geometric figures, but they saw in the pentagon, for example, the secret eye of God, a living sensitive image, with its infinite number of relationships, for all that is appropriate. With this hypothesis as a starting point, Möckel developed a procedure to build the violin, the viola and the cello, whose model was what Luca Pacioli called the divine proportion (in the divine proportion, the division of a line or a geometric figure is such that the smallest dimension is the largest, as the largest is the whole). Since then, he built many excellent instruments with this method. " https://archive.schillerinstitute.com/newspanish/InstitutoSchiller/Arte/MusiParadojaPitagoras.html
  9. You are right, Mr. Denis. The width of the lower module is not 210 mm. Error of mine when writing down. If the template measures 100mm and is adjusted to the center line, the measurement is 201mm. It is a sketch made carelessly. Thanks for noticing the error.
  10. With absolutely geometric I mean using tools made by the luthiers themselves that will facilitate the design, without having to perform calculations, since those tools already contained and indicated the relative measures they needed. One more facility, one more tool, such as the ruler, the compass or the bevel ... the snail.
  11. Wouldn't it be possible, Mr. Denis, that an absolutely geometric previous step, such as the "snail" that I propose, would give the possibility to measure, trace and introduce modifications at will?
  12. The influence of the Hellenic world imposes a new restriction: the exclusive use of the ruler and the compass. Therefore, Dürer it is limited to investigate the approximate representation of the non-uniform spiral through arcs of circumferences.