A question that has (also) occupied the organ builders was: What to do with the remaining housing fragments?
One thing was clear: the casework parts had to be used in the new instrument.
Furthermore, it is also a matter of concern for Orgelbau Schulte that an organ shows on the outside, what it contains within.
Oliver Schulte looked for the symbiosis; neo-Gothic parts should face modern elements, having equal rights, but stylistically clearly separated from each other.
After quite a few talks (and even more coffees) with his father Siegfried Schulte, the concept stood: The surfaces of the historical parts were removed, and they were treated with slightly white pigmented wax. Various profiles were covered with gold leaf.
Until now, the old zinc front pipes (many of which were more flat than round, see picture gallery) were painted with gold bronze. However, because the pipes were dismantled by the parishioners themselves at that time, pipes as well as the gold cover looked lamentably battered.
It was decided to undertake a special treatment: The pipes (among others, the six meter long open 16’) were “bombarded” with glass beads (bead blasting) at a special company and thus obtained their new and very characteristic outward appearance.
As an alternative to the old parts, four slender pipe-flats appeared – varnished matt black with new front pipes that literally seem to hover upon each stainless steel application.
Modern stylistic elements are not meant to upstage the Neo-gothic style in any way, rather they emphasise the special context of this instrument – a game of obvious contrasts, be it in shape, colour or material.