There is a lot of freedom in designing a viola. Whereas the sizes and proportions of violins and, to a lesser extent, cellos are standardised, this is not the case with violas. Large instruments often have playability problems, smaller ones don't look like a viola. For me, size doesn't matter. As with all my instruments, the sound and the way you can model the sound to your liking is the key. The next important design criterion is playability: the dimensions and response of the instrument must allow you to achieve the tone you are looking for with ease and pleasure. You have to make it sound like a viola: Is it a deep violin? Or a small cello-like sound?

A viola maker has many ingredients to play with and many constraints to consider when designing and building an instrument. There is an almost endless source of combinations that work (and even more that don't).

Shape and curves

I enjoy the freedom of designing a viola: I can really start from scratch. I "optimise" the curves until I am completely satisfied with the aesthetics of the design. The curves of the bouts, the sound holes, the scroll... As the f-holes form the boundary of the central part of the soundboard, which is very important for the projection of the instrument, the shape and position are not just about aesthetics.

Arching and plate thickness

The arching is crucial to the power, timbre and playability of my violas. I adapt the architecture of the arching to the outline. The f-holes must fit organically into the arching of the top plate. The optimal thickness of the plates is "given" by the quality of the wood and judged by the flexibility and freedom of sound in the plates.

Choice of wood

I make my violas from well seasoned wood, often from the stock of retired violin makers. I use spruce (Sitka abies) from the Alps for the top and maple (Acer pseudo platanus) from the Carpathians.