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Boletín de Amigos del MAVA.
Citation preview
Vo
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Crazy month.
Last October was a little
crazy for the activities of
the Board of our Associa-
tion.
Day 1 started moving the
shop to the Martin-Rojas
brothers have in Azuqueca
de Henares (Guadalajara)
to accompany them and
Luis Parades, who came
from Asturias, and wat-
ching them work the roll-up
technique.
In this Bulletin includes ex-
tensive information about
what happened that day,
a photo essay and a link to
see the videos that were
made of the demonstra-
tion.
The following weekend we
traveled to Toledo to at-
tend the Craft Fair FARCA-
MA 2011.
It was attended by fifteen
artisans working glassma-
kers different techniques
and different products.
They met again with glass-
makers known from pre-
vious visits, as Montserrat
Gómez Fogliati and Anto-
nio de la Torre, two exce-
llent examples of stained
glass art, Marcos Arcos,
stained glass but also now
works with his partner, to
perform work jewelry and
Manuel Lopez Picazo, of
Berninches
(Guadalajara) with twisted
glass works excellent.
Met Juan Moreno Moya, a
specialist in grisaille and
enamel baked, very focu-
sed on research into new
techniques for making stai-
ned glass, Natalia Bencho-
am, stained as above and
has his studio in Coria
(Cáceres), to Stained Glass
of Consuegra (Toledo) and
Isaac Pérez Sánchez, with a
large carving technique at
hand, which was awarded
the prize for the category of
new artisans for his
"Pegasus".
On day 11 they moved to
Strasbourg (France) at 14 to
attend the inauguration of
the French phase of the
Biennial of Glass.
This sure was a memorable
experience, having been
found in the Museum Wurth
with the catalan artist Joan
Crous and important vertical
installation.
In this museum is the ope-
ning of the Biennale with the
assistance of a large part of
the artists who exhibited
their excellent works in glass,
as Antoine Leperlier, Anaïs
Dunn, Keiko Mukaide and
others.
On day 15 were in the villa-
ge of Bischheim, north of
Strasbourg to visit the exhibi-
tion of Raymond Martinez, a
French artist of 67 years.
CIC Bank also attended to
see the exhibition of glass,
but had to settle for viewing
from outside the building be-
cause it had not yet ope-
ned, despite the information
received.
They struck the windows of
the Cathedral of Strasbourg,
both for its color and its va-
riety of motifs represented.
More than 500,000 pieces
that are all of those win-
dows.
On 18 visited the Redondo
Aura workshop in Madrid's
Vallecas.
The day 19 were the Mu-
seum of Glass Technology La
Granja (Segovia) to attend
the conference Vesa Varre-
la Finnish artist, who in the
next two days would make a
technical demonstration of
their window.
On 21 moved to the town of
Vimbodí (Tarragona), where
the Glass Museum in that ci-
ty, where the workshop is Pa-
co Ramos.
There they could enjoy the
day after the well make Pa-
co saw him make a cruets, a
jug and a plate.
The Museum is set Vimbodí
educational plan, explaining
the origin of the glass and its
history through the ages, the
tools used to manipulate this
element glaziers heated to
high temperatures and some
of the techniques used for
manipulation.
It was curious to read that
those who invented the
glass, according to Pliny, we-
re pirates, when we had the
idea that they were Phoeni-
cian traders en route to
Egypt.
From Vimbodí visited the
monastery of Poblet and
Montblanc walled city.
Nuestra sede:Nuestra sede:
Castillo Grande deCastillo Grande de
S.J. de ValderasS.J. de Valderas
Avda. Los Castillos, s/nAvda. Los Castillos, s/n
28925 ALCORCÓN.28925 ALCORCÓN.
(MADRID)(MADRID)
[email protected]@amigosmava.org
Format PDF
Monthly Newsletter
Newsletters
Vincent Breed
Page 2
C O N T E N T S :
Part of the month 3
Established artists 4
Young artists 4
Roll up in Azuqueca 5
Biennale in Strasburg 6
Research line 7
Activities in Museums 8
Reciclamadrid 2011 11
Farcama 2011 12
Vesa Varrela in La Granja 13
Activities on the MAVA 14
Glass and food 15
Technical Glass 16
News 17
Culture 2011 17
The Lorca lamps 18
Japanese investment 18
The glass museum 19
Visit to Santa Lucia 20
Glass recycling 21
Cultural tours 22
Culture 2011 Programme 22
Glassblowing course 23
Walk in Style 2011 24
Other trends 25
Sofa Chicago 2011 26
Glass workshop in Murcia 27
The Large Glass 28
Life 13.2 29
Tree of Life 30
How does 31
Luso-Spanish congress 32
Vidriarte course 33
Glassblowing in Malta 34
Glass staircase 35
Expensive apartament? 36
Directorate 37
Intellectual Property
Law
TITLE III.
CHAPTER II. LIMITS.
(continued)
Not need the permis-
sion of the author of a
protected database:
When you make a
reproduction for pri-
vate purposes.
When making the
purpose of illustration
for teaching or rese-
arch.
In the case of public
safety purposes.
Works permanently lo-
cated in public places
may be reproduced
by audiovisual proces-
ses.
Public domain works
may be used by anyo-
ne, while respecting
the authorship and in-
tegrity of the work.
TITLE V. Transmission of
rights.
CHAPTER l. General
provisions.
The rights are transfe-
rred mortis causa by
any means recognized
by law.
The rights of exploita-
tion of the work may be
transferred by inter vi-
vos acts.
Will void the transfer of
rights in respect of all
the works that the aut-
hor may create in the
future.
Will be null stipulations
whereby the author un-
dertakes not to create
any work in the future.
Any transfer shall be in
writing.
The transfer granted by
the author for a conside-
ration to a proportional
share in operating inco-
me.
May set a standard fee
to the author.
If the lump sum transfer is
manifestly disproportio-
nate to the author's re-
muneration and benefits
obtained by the licen-
see, he may seek review
of the contract.
The transfer of exclusive
rights shall be expressly
granted by this charac-
ter.
The exclusive transferee
may transfer his rights to
another with the express
consent of the transferor.
The transferee shall be
entitled to exclusive use
of the work under the
terms of the assignment.
U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S
Employment workshops at La Granja.
The director of the Na-
tional Glass Centre
Foundation (CNV) va-
lues collaboration, "and
understanding" of the
job responsibilities of
Castilla and Leon in
supporting projects
through employment
workshops' Processes of
Glass Art ', funded by
the Ecyl (Employment
Castilla y León).
The Hall of the Royal
Glass Factory at La
Granja was the scene
of the closing of two of
these workshops, in
which twelve students
participated, mostly
middle-aged, accor-
ding to Aurea Juárez.
The director of the
Foundation called
"spectacular" work per-
formed in these works-
hops, one on the con-
servation of the collec-
tion of glass molds and
a recovery from the
sketches of the Great
Collection of Maumeje-
an (late nineteenth
century to the seventies
of last century) present
in the CNV.
New workshop
Precisely in this
November will start
another workshop, this
time with eight people
and dedicated exclusi-
vely to the task of reco-
very Maumejean Co-
llection.
Juarez also reported
that since the gover-
ning body of work is
starting to accompany
those who finish these
workshops and other
training activities in the
SEC "to lend a hand"
and with the coopera-
tion of the City, trying to
promote self-
employment in the mu-
nicipality on aspects re-
lated to the glass.
SPECIAL INTEREST:
Part of the month
Roll up in Azuqueca
Biennale in Strasburg
Vesa Varrela in La Granja
Activities on the MAVA
News
Our activities
Glass recycling
How does
Important issue: the Intellectual Property Law (IX) M.A.C.(IX) M.A.C.(IX) M.A.C.
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Part of de month. Galia Amsel.
Galia Amsel, grew up in Hong Kong
until the age of 16 years when he
returned to London, his hometown,
to perform various studies in the
field of design and fine arts.
Middlesex University and a master's
degree two years at the Royal
College of Art in London gave him
the necessary theoretical knowled-
ge, while the realization of indus-
trial designs for pottery and molds
were finally completed their exper-
tise to work the glass.
In 1991 began his teaching career
and, soon gaining recognition for
his work.
Is selected for the exhibition in Veni-
ce Vetro Aperto 1996 edition and in
1998, is included in the select list of
the prestigious Jerwood Applied
Arts, which had focused for the first
time in glass.
Galia Amsel's works are part of geo-
metric abstraction.
The simplicity of its forms and the
choice of colors derived from their
education in the Far East.
His glass sculptures have intense
movements, rhythms and tension.
Open rings, broken circles that
open at the end to look, free lines,
rectangular, square or wavy with a
magnetic force.
These forms associated with the ba-
sic geometry are always interrupted
dramatically, sometimes by a court,
other via slides and other by the in-
clusion of a color field.
The empty spaces are as important
as those occupied by the mass of
glass.
His sources of inspiration in the trace
missing ethnographic collections of
cultures, ethnic jewelry in which a
specific value was given ritual, but
also in large natural landscapes,
landforms repositioned man in a ti-
ny scale.
"Beyond Space I" was part of the
whole works in the exhibition alter-
native views that MAVA dedicated
in 2004.
In the summer of that year he mo-
ved to New Zealand.
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Page 4
Established artists. Vincent Breed.
Vincent Breed was born in Haar-
lem, the Netherlands, in the bosom
of a family of painters and sculp-
tors.
In 1983 the family settled in the
French Burgundy and he produced
his first sculptures in stone, wood
and ice.
In 1987 he began his studies in Fine
Arts.
In 1990 he received his diploma in
Fine Arts in Besançon and conti-
nued his training in Industrial De-
sign.
In 1992 he obtained his degree in
Industrial Design at Dole and is ad-
mitted to the School of Decorative
Arts in Strasbourg, France, and en-
ters directly into the second year. It
is now that it meets the glass.
In 1995 he spent some time in Mon-
treal in the training center Espace
Verre.
On his return he visited several
glass-blowing workshops in France,
to learn the specific technique of
the French masters.
His creations are presented in the
contemporary collection of Sordello
Gallery (Paris).
First participated in the International
Exhibition of Verre Contemporain
d'Alisay.
In 1996 Petr Novotny welcomes you
to his home in Novy Bor, Czech Re-
public, for training in the production
of spare parts and exceptional ar-
tists.
Upon his return, Vincent Slagerman
work with Scott, an American glass-
maker installed in Paris for two ye-
ars.
Technical and perfectionist, ap-
proaches the glass as an artist and
art supplies and support contempo-
rary artistic expression.
His taste for thoughts and thought-
forms and dominated him to focus
on blowing, the noblest expression
mode of the glass.
This practice requires a long prepa-
ration and precise, a necessary ma-
turing of the design of a mental
image that should materialize and
be blown at a precise time, no tur-
ning back, which enhances the
shape and material quality.
Your web
Young artists. Anaïs Dunn.
Anaïs Dunn was born in 1984 and
initially specialized in metal work,
sculpture and bronze objects.
Then he discovered a new art,
blown glass.
Around two preferred materials,
shapes and assembles Dunn these
materials, fixed in appearance,
and collects, channels, catch or
release a movement.
His work is translated into a utopian
machine and experience between
the chemistry and magic.
Has made available to the visitor
triggers the tests or to discover the
movement in suspension.
Dunn has created especially Anaïs
and has implemented a bubble
machine for the Métiers d'Art Non-
tron space and two monumental
sculptures for the city of Chalette-
sur-Loing.
In 2003 she received her diploma in
sculpture Métiers d'Art applied to
the metal with the congratulations
of the jury at Olivier de Serres scho-
ol.
In 2009 won the National Diploma
of Fine Arts, marked "Quality Perfor-
mance" at the School of Decorati-
ve Arts in Strasbourg.
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Page 5
Roll up in Azuqueca de Henares.
On October 1 we had the pleasure
of looking in Studio Martin-Rojas,
Azuqueca de Henares
(Guadalajara), the roll-up session
together that made Luis Parades,
Diego Martin-Rojas and David Gar-
cia.
The day before had called to an-
nounce our visit Diego after a long
time without putting us in touch,
and gave us the joy of announcing
that they were awaiting the arrival
of Louis Parades from Asturias, who
had already visited in the month of
May Last year in his workshop and
whose visit gave full information on
our Bulletin No. 23 of June 2010.
We had also been with him in the
delivery of the National Crafts
Awards at the Ministry of Industry,
Tourism and Trade, in Madrid,
which also act reported in our Bu-
lletin No. 26 of October of last year.
Reaching us at the workshop on
Saturday morning were preparing
the oven to melt the pieces and
another heating the flat he had
brought Louis.
So, while it reached the right tem-
perature for the realization of the
pieces went to take a drink at a te-
rrace surrounded and enjoy the
splendid morning we were doing.
When they calculated that should
be about the furnace back to the
shop and began the task.
Luis opened the session working on
a post collecting the oven to give
a circular shape and then go flat
rolling the piece was ready in the
other oven.
As the work unfolds in a much mo-
re favorable with the help of ot-
hers, Diego and David pitched in
to the execution of the piece.
To perform this technique requires
three ovens:
one for melting glass with which
to form the circular base of the
piece,
other to keep warm flat forms to
be used to scroll through the one
cited in the preceding para-
graph, and
one for the annealing of the pie-
ces.
After working the room, with subse-
quent transfer into the oven to
temperature suitable for handling
after it has been cooling with pre-
vious work by one of its sides, you
have to dip into the Puntila to work
the opposite end.
When I was developing the imple-
mentation phase of the mouth of
the piece, the Puntila said he was
tired of holding and, without war-
ning, he left her and let it
crashed into the ground.
All we are left with an enormous
sense of frustration after seeing the
effort put into its creation.
But that work with glass. The more
excited is the artist performing the
piece, this capricious element dis-
rupts all plans and start again.
And this was what did our friends.
Now it was his turn to Diego, he
could make a success of his work
and allowed to stand in the annea-
ling furnace.
Then it was his turn to David, who,
after a valiant effort in the perfor-
mance of his piece did not achieve
the desired result and he played a
fateful Puntila trick.
When it was again the turn of Luis
Parades we had to leave and we
saw the completion of his new
work.
Throughout the next day they were
doing more work, which, together
with the previous day, they went
with Luis Asturias to continue to land
the finishing process to reach its
endpoint.
We hope that when the process is
finished and definitive works see the
light, pass us some pictures of them
so that we can disseminate through
this medium.
Meanwhile, we are content to offer
a series of images captured during
the process of realization in Azuque-
ca.
We have also made a composition
of video and photos that you can
watch on the link below.
To summarize this whole experience
for us, we can conclude that we
have spent an extraordinary day
with friends and knowing the reali-
zation of a technique such as roll-
up live, which is completely diffe-
rent visions through a video.
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Page 6
Biennale of Glass in Strasbourg.
On October 14 we attended the
opening of the French phase of the
International Biennial of Glass,
Strasbourg (France).
Well before the President of L'ES-
GAA, Laurent Schmoll, we had ex-
tended the invitation to participá-
semos in the opening ceremony.
Since the city of Strasbourg and its
surroundings offer a wealth of inte-
resting places to visit, we started
our stay in Alsace 11 on Tuesday
afternoon.
The city's main transport bicycles
and trams.
It is an enormous amount of people
from all walks of bike they move
from one place to another. Bike la-
nes are all over the city and must
be respected like it or not, because
they are very popular for cyclists.
The trolley has six lines that cross
the center and head to the su-
burbs.
The opening ceremony was held
at the Museum Wurth, in the town
of Ersnstein, where the multinatio-
nal has a large factory and a mo-
dern and spacious museum.
It seems that in this building only
offer temporary exhibitions, this ti-
me, offer the visitor a lot of glass
sculptures and some of them up
with other materials.
You can see most of the pieces in
this collection through the follo-
wing link.
In the exhibition we find Joan
Crous, glass artist of Catalan origin
and living in Italy with his wife of
that nationality.
Joan presents a large vertical insta-
llation made of glass, sand and the
most varied objects. A photo of the
work can be seen on page 43.
A large audience attended the
opening ceremony which packed
the large hall where the ceremony
of opening of the exhibition and
many people had to stay away
from visiting the exhibition hall.
Most of the works seemed to us ex-
traordinary, but as most important
works for us, we highlight the Har-
vey Littelton those of Libensky,
Gasch-Muche those of the Breed,
of Cigler and the Leperlier.
All of them can be seen in the pho-
tographs attached on page 43.
We could not entertain a lot in the
opening ceremony, because our
train was going at a time determi-
ned by Erstein station and could not
afford to lose.
The next morning we moved to
Bischheim, north of Strasbourg to
visit the exhibition of Raymond Mar-
tinez, a French artist whose 67 years
and exhibits can be seen on page
44 of this Bulletin.
Also we were informed that the
Bank CIC had opened an exhibition
of pieces of glass the past 14 days,
but we were on day 16 in the mor-
ning and was still in preparation, so
we had to be content to see some
from outside the enclosure glass on
the ground floor of the Bank.
We also had the opportunity to ad-
mire the stunning stained glass win-
dows of the Cathedral of Stras-
bourg, a collection that exceeds
500,000 pieces with extraordinary
polychrome. We have seen fit to
include the artwork that we obtai-
ned in the following link.
In addition to these wonderful stai-
ned glass windows, we could admi-
re many others that are distributed
throughout all the churches we
have visited this beautiful French
city, both ancient and modern per-
formance.
In short, we spent some great days
in this beautiful city and we were
able to admire many of its art trea-
sures, as well as to behold many
glass sculptures by some renowned
artists from various countries.
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Line of research: Test (II).
Estefanía Sanz Lobo.
Calculations recommended by
MOORMAN
The author proposes that once the
softening temperature, these cal-
culations are made:
• Subtract 33 to the softening point
(STP, Slump Test Point) for the higher
temperature annealing (UAP, Up-
per Annealing Point)
In our case, it would be:
590 ° - 33 = 557 º
• Subtract 40 to UAP again to get
the annealing point (AP, Annealing
Point)
Have the following:
557 º - 40 = 517
• Going down another 40 degrees
find the lower temperature annea-
ling (SP, Strain Point)
This would:
517 º - 40 = 477
Calculations Royante recommen-
ded Chantal
Since the establishment of the sof-
tening point, these calculations:
• Subtract 33 to the softening tem-
perature for the higher temperatu-
re annealing.
We face the following:
590 ° - 33 = 557 º
• Subtract the temperature again
to 52 above, to obtain the stress
point or lower annealing tempera-
ture.
We obtain this information:
557 º - 52 = 505
None of these sources justifies the
proposed equations, or explain
what is the basis of the remaining
figures, which they call as appro-
priate constant or regulations.
Ensure its smooth operation, sup-
ported by professional expertise.
The similarities are remarkable
enough in the higher temperature
annealing to consider that this is a
reliable estimate.
Alarmingly, however, note that the
point of annealing varies conside-
rably according to different esti-
mates, especially considering that
at this point is to make a long pla-
teau to help break the tension that
has acquired and merged glass to
become more high temperature.
Failure to keep the temperature
constant at that point, the stresses
need much more time to relax.
Lower annealing temperature is
around 490 degrees, but also va-
ries considerably.
The range of annealing safer, the-
refore, be found among the 560
and 480 degrees.
Of the various calculations presen-
ted we conclude that in the artistic
glass works in a rather empirical,
relevant data obtained in an ap-
proximate way, almost by trial and
error.
Drawing on the scientific literature,
we find certain formulas and pro-
cedures for establishing these criti-
cal points in the temperature cur-
ves of the glass.
However, in many cases are desig-
ned for laboratories and industries
require special laboratory facilities
and expertise chemicals out of re-
ach of most artists.
In these equations take into ac-
count important factors such as the
thickness of the glass, its composi-
tion, its coefficient of expansion,
etc.
THERMOFORMING TEST.
Homogeneity of the oven tempera-
ture in the range 600 ° -700 ° C.
The temperature range between
600 ° and 700 ° is one in which tech-
niques are performed with flat glass
volume, known generically as ther-
moforming.
They consist of modifying the shape
of a flat sheet of glass bringing the
temperature beyond the softening
point, using the force of gravity so
that the glass molds suits of various
kinds.
Purpose of test:
Once the softening point of the flo-
at glass in the oven, around 590 ° C,
it is to investigate what is the tem-
perature that occurs most thermo-
forming and which areas are cold
and hot from the oven at this tem-
perature range.
With these data we can obtain
adequate information to design
curves for a thermoforming tempe-
rature.
We also serve to find out what are-
as of the glass furnace is deformed
to a greater or lesser degree.
Development of the test:
As anticipated in the chapter on
the evidence of softening, there is
another method more complex
than described here to find out
what is the softening temperature
and, incidentally, what areas are
hot and cold oven.
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Actividades en Museos I.
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Actividades en Museos II.
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Actividades en Museos III.
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Reciclamadrid 2011.
From 8 to 20 this month of Novem-
ber in Cosmo Caixa headquarters
in the city of Alcobendas Madrid,
the Third International Exhibition of
art recycling and sustainability, the
fair Reciclamadrid.
Organizes and promotes the fair
Fila5.Arte firm, led by Susana Apari-
cio Ortiz, a person engaged in
body and soul to the glass and has
had to suffer a bad taste in this fa-
cet of the art world, some of them
very close to our Museum.
Collaborate in this fair number of
institutions that make possible in
these times of crisis the celebration
of this event.
From these pages we express our
congratulations to Susan for the te-
nacity and desire for work that de-
monstrates the organization and
implementation of the three edi-
tions of this fair.
In connection with the participation
of glass in the exhibition of this Fair,
highlights of "Jewels carried through
recycling and / or reuse of waste"
and PRACTICE SEMINAR III. "THERE IS
LIFE AFTER THE TRASH" with the parti-
cipation of Nutopia Land. Produc-
tion non-toxic. Reflecting on chemi-
cal intolerance syndrome in art
workshops.
Workshops on Recycling, Susana
Aparicio instructor participates in
the workshop "Recycle glass" with
the theme "For a glass bottle that is
recycled saves the energy needed
to be on a TV for three hours." This
workshop is open to the general pu-
blic on Sunday, November 12th
from 11.30 to 13.30.
We are confident that this new edi-
tion of Reciclamadrid will be a suc-
cess as it has been in the past.
We will be there to tell in the next
Bulletin.
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FARCAMA 2011.
Were present at the last edition of
the fair FARCAMA held in Toledo
between 7 and 16 of last October.
At the fair fifteen glassmakers were
present with different techniques.
From Fogliati and Antonio de la To-
rre, in the field of stained glass to
Marcos Arcos in the field of jewelry,
to Isaac Perez in the arm length
and Anna Ubeda in jewelry.
This year, the show has had a parti-
cipation of around 250 exhibitors,
showing them a great quality in the
products.
Both the Bridge as Archbishop Tala-
vera has exposed excellent potte-
ry.
These include the participation of
San Gines Ceramics of Talavera de
la Reina, who was the winning
company of National Crafts Award
last year 2010.
In recent days we have had the
pleasant news that have been
granted to Isaac Pérez Sánchez
(circled in photo), Toledo carver
trained in La Granja, the award for
New Craft Section for his "Pegasus".
A large graphic information of the
fair can be seen on Page 45.
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Vesa Varrela in La Granja.
On October 19 Vesa Varrela lectu-
red at the Tech Museum of Glass in
La Granja (Segovia).
Vesa was born in March 1957 in the
Finnish town of Turkun.
In his dissertation, the artist infor-
med us that he, in the artistic as-
pect comes from the sector of in-
dustrial glass and design.
It started in the art through pottery
and is entirely self-taught in glass
formation.
It was some time learning the tech-
nique of glass in Denmark.
He likes working the glass to sensa-
tions through the lights and sha-
dows.
Always try to capture in his work
different aspects of nature.
He spent time as a fan and made
his first exhibition in 1985.
Works mostly cold techniques and
the sand mold. He does not like the
theoretical aspects of the techni-
ques, prefer experience them in
practice.
During his time as a laborer in the
factories of industrial glass using her
free time to do personal experi-
ments.
Some of his designs appear in the
editions of the famous children's bo-
ok "The Prince" by Antoine de Saint-
Exupéry.
Photographic techniques applied in
their work, inserting pictures in the
windows, as seen in the work that
the MAVA has in its permanent co-
llection, in which appears the pictu-
re of his mother at the age of 17.
He has participated in the struggle
of the Czech Novy Bor against
school closure glass that locality. In
our newsletters for the months of
December 2010 and January 2011
and we became an echo of this
sad affair for the attempted dismis-
sal of Frantisek Janak.
In his latest works, Vesa fish incorpo-
rates the silhouette of his works to
appeal to the consciences of the
number of disappearances taking
place in the seas as a result of in-
dustrial discharges, mainly.
Incorporate their designs is initially
reflected in glass textile pieces,
such as boots, clothes, swimsuits,
etc.., So that their income are
strengthened by the sales of these
products.
We offer some pictures of this event
on page 46.
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Activities on the MAVA. Science Week.
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XI SEMANA DE
LA CIENCIA EN EL
Química: soluciones para
un mundo sostenible
PROGRAMA
Las actividades tendrán lugar entre el martes 15 y el sábado 19 de noviembre en el MAVA:
1. Exposiciones didácticas: “La Química del Vidrio” y “Las Tres R del Reciclado de vidrio”. Materias primas,
herramientas, procesos, fotografías, paneles y videos didácticos cedidos por el Museo de la Real Fábrica de
Cristales de La Granja y por ECOVIDRIO.
2. Talleres para estudiantes de Educación Primaria, Secundaria y Bachiller.
1. Taller de grabado con lápiz eléctrico sobre vidrio
2. Taller de grabado al chorro de arena
Martes 15, miércoles 16, jueves 17 y viernes 18 de noviembre
Educación Primaria: de 10 a 12h
Educación Secundaria y Bachiller: de 12 a 14h.
Colabora: Colectivo de VITRIUM de Alcorcón
NOTA: Los grupos de alumnos realizarán uno de los dos talleres propuestos. Cada alumno traerá su propio
bote, vaso, botella, etc. de vidrio, limpio y sin etiquetas para llevárselo grabado. El objetivo de los talleres es
concienciar a los alumnos en la reutilización de objetos de vidrio de uso cotidiano. Al decorarlos y personali-
zarlos con técnicas de grabado, se transforman en objetos con un nuevo uso, que de otra forma, irían al
contenedor de basura.
3. Talleres abiertos para niñ@s: De 18 a 20h
Martes 15, miércoles 16, jueves 17 y viernes 18 de noviembre.
Colectivo ALARTE: días 15 (martes) y 17 (jueves). Grabado con lápiz sobre bote de vidrio y pintura de su-
perficie plana de vidrio con inclusiones.
MirArte: días 16 (miércoles) y 18 (viernes). Mosaicos con fragmentos de vidrios de colores.
4. Exhibición de Soplado de vidrio, a cargo de Igor Obeso con el Patrocinio de la empresa Recuperación y
Reciclaje de Vidrio S.L.
De miércoles 16 a viernes 18, de 10 a 14h y de 17 a 20h
Sábado 19 de 10:30 a 14:30h
5. Visitas guiadas a grupos:
Colectivos, Asociaciones, Colegios, Institutos. Mínimo 10 personas. A cargo de Voluntarios de la Confedera-
ción de Aulas de la Tercera Edad.
Reservas para centros educativos, grupos y talleres abiertos para niños - a partir del 24 de octubre- llamando
a los teléfonos:
General del Museo 911 126 630
o Centros de Educación Primaria (de martes a viernes de 10 a 12h)
o Talleres abiertos para ñiñ@s por las tardes
Administración y Dirección 911 126 635
o Centros de Educación Secundaria y Bachiller (de martes a viernes de 12 a 14h)
o Visitas guiadas a grupos por las tardes
Page 15
Glass and food.
During the week of 17 to 21
October was held in Barcelona a
sustainable event based on a
binomial at all unusual: gastronomy
and glass.
The event name, oh! BCN,
indicates just the look of surprise
the viewer in front of the creations
made by it.
Food design event in which
creativity, attention to new trends
and sustainability are the focus of
its development.
Starring Albert Adria Event,
Christian and Francesco Morace
Escribà who have contributed their
expertise in the art and meetings
that have taken place during the
different days of the event.
Several artists have made work the
sugar plant as if it were glass, sea
scenarios playing Barcelona, the
famous Boqueria market and the
Paseo de Gracia.
We're talking glass designs and
prototypes with sugar made by
multidisciplinary teams and
international results of the most
evocative.
The gala evening was developing
low notes of live performance of
composer Tree "(Miguel Marín),
accompanied by strings and Sara
Fontan Runarsdottir Bjort a video
artist Javier Milara installation.
Also interesting to observe the
tasting was also a creative cuisine
in its real sense of the term, the work
of Iker Erauzkin: spray of mushroom
soup, a mini bottle of Coca Cola
containing squid soup, foie gras,
rice and sheets of sugar and gold
are some of the dishes that I enjoy.
All, of course, were in a glass
container.
And finally gin and tonic on
specimens to confirm the originality
of this innovative project linking
food, design, craft and art glass
under the Barcelona Design
Festival.
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Glass techniques. Color palette (VI).
Estefanía Sanz Lobo
Desvitrificaciones
The desvitrificaciones are due to
the mass elements of glass out of it
and crystallize.
Often these elements are alkalis.
The desvitrificaciones occur espe-
cially if it stays a long time between
850 ° and 600 ° C, which are the
temperatures at which the glass is
fluid, providing an opportunity to
align certain components by follo-
wing a standard lens.
The dirt in the oven or on the surfa-
ce of the glass can contribute to
that devitrification.
Various commercial products are
manufactured to avoid devitrifica-
tion, which consist primarily of a dis-
solved in liquid flux that can be ap-
plied to the glass surface before
baking and make this a shiny coat.
Devitrification appears as a whitish
veil, usually on the surface of glass,
which it partially opacified, outs-
hine.
By looking through a microscope
with 500 magnification, we can see
a texture similar to ice needles.
Figure I shows a photograph taken
from a microscopic view of a par-
tially devitrified glass.
Needles are formed resembling the
form of ice.
In the process of glass fusing, "the
phenomena of devitrification acts
in the thermal range 650 º to 850 º
C, either heating or cooling."
This may be due to the following
factors, as has been shown in tests:
Temperature.
A drop too slow between the maxi-
mum temperature of the curve to
550 ° C.
In this case, all parts of a batch, or
a tray of oven, are partially or com-
pletely devitrified.
The time-temperature combination
is usually the main agent of devitrifi-
cation.
To avoid devitrification to achieve
a full merger, for example, it is bet-
ter to spend less time at higher
temperatures than at lower tempe-
ratures longer.
Dirt.
The glass should be cleaned tho-
roughly before putting it in the
oven.
The fat of the cutting tools, as well
as dust, can cause desvitrificacio-
nes.
Tin.
The float glass production the tech-
nique has one side with tin impuri-
ties.
This surface can react chemically
with certain glazes and devitrify.
Figure II is a tile of a size of approxi-
mately 3 x 4 cm.
It certainly shows a devitrification
due to the presence of tin in the
glass surface, and which clearly
shows the shape of the area that
corresponds to tin, while the rest is
devitrified glass.
Other crystallizations.
The mixture of two glazes together,
or a metal nail with another for
glass, or a glaze can produce
unexpected reactions between
oxides, fluxes and glazes present in
these materials.
It effects the "crystallization" and
"dust."
The first is due to reactions betwe-
en the components, and the latter
to the presence of elements infu-
sed.
Figures III and IV can be seen due
to mixed crystals different nail.
They occur mostly with reds and
yellows in which oxides are present
cadmium or selenium.
Figures V and VI show that there
are mixtures in airborne dust, per-
haps due to the presence of trans-
parent and opaque elements from
reactions between the two glazes.
Figures VII and VIII are both types of
defect, crystals and dust in suspen-
sion in the same sample.
Bubbles
We have already mentioned a kind
of bubble, due to lack of tempera-
ture to achieve the level of fluency
necessary to remove the gases pro-
duced by alkalis.
These bubbles occur when the ena-
mel is placed on the surface and
sandwich.
Other types of bubbles are often
present when working with glazes,
oxides and glass chips between
two planes.
The tests have found these: those
produced by the flux used, borax,
which is alkaline due to the excess
of black copper oxide and manga-
nese, and those caused by trap-
ped air between the chips.
However, Lundstrom, B. (1991), indi-
cates that the enamel overcooked
cause bubbling and discoloration.
As these bubbles are rigorous ma-
nufacturing defects.
However, when controls are an ex-
pressive.
To test different mixtures of enamels
on glass can be observed different
sizes of bubbles.
The largest and irregular should be
avoided so as not to jeopardize the
work (do not forget that the walls of
these bubbles are finer than the rest
of the glass and can produce ten-
sions and ruptures).
Bubbles due to the excessive
amount of oxides. Figure IX, manga-
nese oxide. Figure XI, black copper
oxide, in bubbles out of control.
Those in Figure X, because of its size,
would jeopardize the work.
Figure XII frits were placed in cold,
between two layers of flat glass.
Thus, after reaching a temperature
of approximately 650 º C, it softens
the glass above, that the effect of
gravity has fallen to the bottom ad-
hering to it before the chips had
melted with glass base, locking and
air between the two glasses.
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Page 17
N E W S (I).
where he recorded a high level of
radiation, the Russian Museum
asked not to expose the objects.
The Museum of Contemporary Art
in Takasaki city, located 210
kilometers from the nuclear plant.
Gunma was to be the ultimate
destination of the exhibition. The
Hermitage's website says that the
glass collection has been exhibited
in several cities in Japan: Sapporo
in June, July and September in
Tokyo. On 1 October the exhibition
will open at the Museum of Art,
Okayama Prefecture.
In total, the exhibition consists of 327
works of the funds from the
Department of Decorative Arts in
Western Europe and the
Department of Russian Culture. The
exhibition is dedicated to the history
of glass production in Western
Europe and Russia. It outlines
unique glassware, cups, bottles,
jewelry and beaded embroidery.
On October 29 we visited the ex-
hibition of Delacroix in CaixaForum
Madrid.
The exhibition features more than
100 works by the great French pain-
ter Eugène Delacroix (1798-1863),
one of the most prominent figures
of Romanticism, including some of
his oil paintings known as "Greece
Expiring sobe the Ruins of
Missolonghi" (Museum of Fine Arts,
Bordeaux), one of the sketches of
the "Death of Sardanapa-
lus" (Louvre, Paris) and "women of
Algiers in his place" (Louvre, Paris),
exceptionally loaned for the exhibi-
tion.
This exhibition, jointly organized by
the Obra Social "la Caixa" and the
Louvre Museum as part of a
partnership, is the most important in
Spain has been organized around
the figure of Delacroix.
Loans has such important institutions
as the National Gallery in London,
New York Metropolitan Museum or
the Art Institute of Chicago.
It proposes a journey through the
different stages of production, from
the early works, seeking inspiration
in the museum, to the stage of ma-
turity, in which the artist draws his
themes of reality, with special emp-
hasis on works of history Orientalists
and the meeting for the first time
since 1963, its centenary year.
The exhibition will be in spring in the
seat of CaixaForum Barcelona, in
dialogue with a selection of works
by Francisco de Goya, his contem-
porary.
According to Miro in Madrid that
confrontation will not require the
physical movement of the Arago-
nese painter works, "but is set a
nod" to the Prado Museum, custo-
dian of his masterpieces.
Culture 2011.
Cancellation of exhibition in Japan.
In the Museum of Contemporary Art
Gunma Prefecture was canceled
an exhibition of glass objects for
display assigned by the State
Hermitage Museum in St.
Petersburg, as reported by the news
agency Kyodo News.
The exhibition "The glass is admired
the Russian Imperial Court" was to
open in Gunma this December. But
due to the proximity of the location
of exposure, the nuclear Fukushima
I,
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Page 18
N E W S (II).
These pieces form part of the late
medieval temporary exhibition enti-
tled "Bibles of Sepharad: the lives
cross the text and its readers"
between January and April 2012 in
the hypostyle hall of exhibitions at
the National Library.
The Councillor for Culture of the Ci-
ty of Lorca, Sandra Martinez,
reported that the Municipal Ar-
chaeological Museum temporarily
provide the National Library of
Spain three glass lamps of the syna-
gogue Lorca castle to be exposed
in this building in Madrid.
Martinez explained these pieces
illustrate aspects of late medieval
forms of worship and enlightenment
in the Middle Ages in the synago-
gue of the Jewish quarter of Lorca
castellated form part of the tempo-
rary exhibition entitled "Bibles of
Sepharad: the lives cross the text
and its readers" between the
months of January and April 2012 in
the exhibition hall Hipóstila the Na-
tional Library.
The exhibition is organized by the
National Library of Spain, in collabo-
ration with the Center for Humani-
ties and Social Sciences CSIC.
The Lorca Lamps.
Japanese investment in Argentina.
The Nippon Sheet glass manufactu-
rer Glass, has announced it will
build a new plant in Argentina to
meet growing demand from the
construction and the motor industry
in South America, the newspaper
reported Saturday Nikkei.
The facility will be operated via
Glass Argentina, a "joint venture" of
the Japanese group and the
French giant in the industry, Saint-
Gobain.
It is expected that the investment,
estimated at 17,000 million yen (158
million euros), multiply by more
than double the production capa-
city of the company in this country.
It is also envisaged that the factory,
which will rise to about 70 miles
northwest of Buenos Aires, to be
operational in the first quarter of
2014 and has a line of float glass
manufacturing capacity to produ-
ce 800 tons a day.
Nippon Glass Sheet is the only glass
manufacturer in Argentina, where it
dominates about 50% of a market
that imports the remaining half.
Still, the glass produced at the new
factory will export local to Uruguay,
Paraguay and Bolivia.
Stained Argentina, which already
has a plant on the outskirts of Bue-
nos Aires that makes glass for cons-
truction and the automotive indus-
try, is owned 51% by Pilkington, a
British subsidiary of Nippon Sheet
Glass acquired in 2006, and 49% by
France's Saint-Gobain.
Founded in 1918, Nippon Steel
Glass is one of the leading manu-
facturers of glass, with operations in
29 countries, according to EFE.
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Page 19
The glass in Museums: Cisternerne.
The Tank Museum of Modern Art in
Glass, or Cisternerne, is one of the
most important cultural venues in
Copenhagen, located in the cen-
ter of the park Søndermarken.
They set out the main works of mo-
dern artists who have worked cut
the glass as a medium to express
their feelings and ideas in works as
varied.
The current museum was, in 2001, a
trio of underground tanks that were
refurbished to house the museum
and its rooms.
The Cisternerne has become very
popular with travelers because it is
opposite the entrance to the Co-
penhagen Zoo (Roskildevej).
To be formed, when children see
the striking figures in glass also wish
to approach a single output and
travelers can visit two of the won-
ders of the Danish capital.
Originally, the museum occupies
4,200 square meters, the area for
underground tanks, but in 2007 was
expanded to 1,400 square meters
more, allowing other important
works related to deposit with the
water tanks and glass works.
The Cisternerne is one of the unique
museums of Europe, a must for lo-
vers of travel and culture.
The purpose of "From Frederiks-
bergske Slotshavers Venner" (Friends
of Frederiksberg Palace Gardens) is
to promote and contribute to cultu-
ral and artistic activities in Frederiks-
berg Have and Søndermarken.
Society Platform is a cooperation
between Slots-og Ejendomsstyrrel-
sen, Frederiksberg Kommune and
societies and similar organizations in
Frederiksberg.
It is important to society, through
marketing, to report on activities
and raise awareness of this cultural
heritage through the artistic contri-
butions, guided tours and lectures.
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Page 20
Visit the Delegate at Santa Lucia Museum.
• The building has been built with
state funding of Plan E, for an
amount exceeding half a million
euros
• The neighborhood of Santa Lucia
de Cartagena has been historically
dedicated to the craft of glass.
The government delegate in Mur-
cia, Rafael González Tovar, last visi-
ted October 14 morning, the Mu-
seum of Glass, located in the
neighborhood of Santa Lucia, who-
se construction has been made
possible by state funding amoun-
ting to 504 600 euros of state funds
from Plan E.
Tovar Gonzalez noted that during
construction has created a total of
35 jobs, seeing and met several of
the objectives of Plan E, which has
been to create jobs, boost the lo-
cal economy and building infras-
tructure for the use and enjoyment
of the public.
Santa Lucia has traditionally been
an area specially dedicated to ar-
tisan glass, which is why it was
thought appropriate to build a Mu-
seum of Glass in this area, so that
also serve as a new tourist resort.
The building of high architectural
quality, consists of about 600 squa-
re meters over two floors and also
has spaces for showrooms and
workshops.
In addition, another module houses
the toilets, stores and offices.
On the other hand, González Tovar
said very proud that such facilities
have been built in Cartagena
thanks to Plan E of the Government
of Spain, Cartagena and invited vi-
sitors to come to contemplate the
historical legacy of a Centennial
office, typical of this neighborhood,
as is that of the glassmakers.
Finally, the government delegate
commented that the town of Car-
tagena has executed 109 projects
under the Plan E, for which it recei-
ved 59.4 million euros.
Of these 109 projects, 106 have al-
ready been paid to the City as a
whole.
With respect to the data of the
whole region, explained that the
Government of Spain already has
admitted to 383 million euros in the
municipal treasury for all municipali-
ties, representing 96 percent of the
total to enter.
Also pointed out that 21,113 contra-
cts have been generated in the re-
gion, of which 8215 were newly
created.
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Page 21
Recycling. Support recycling.
In recent weeks, Edurne, Elena Fu-
ries, Ivan Sanchez, Boris Izaguirre
and Fonsi Nieto took part in the fil-
ming of a short documentary ca-
lled "Many Lives: The Journey of
Glass", whose main objective is to
inform the public, so very enjoya-
ble, the phases of the process of
recycling glass.
This is an initiative of Ecovidrio, non-
profit association responsible for
managing the recycling of glass
packaging waste in containers in
Spain.
The short "Many Lives: The Journey
of Glass", which is currently in post
production, reflecting the whole
cycle begins with the purchase of
a product packaged in glass.
This trip will show how the consumer
plays an essential role because it is
who must deposit glass containers
in the green igloo.
From there go through the treat-
ment plant, glass factory and the
packaging to finally return to the
trade and begin a new journey.
In parallel and as an allegory to the
many lives that has the glass, all the
players have gotten the short in the
skin of several characters: Ivan has
been a customer and cashier,
Elena has represented a machine
operator and supervisor for a plant
treatment, Boris has gotten into the
role of director of a glass factory
that serves a journalist he played
well, Fonsi Nieto has played the ro-
le of workers in a different packa-
ging and Edurne has had the res-
ponsibility of being the driver and
operator of the truck responsible
for the collection of glass contai-
ners green igloos.
All locations where it was filmed
this short documentary are real si-
tes the recycling chain from manu-
facturing of glass containers and
packaging, to trade, through the
treatment plant where Ellen Furiase
and shared the stage surrounded
by Edurne large mountains of cullet
(glass ready to be blown clean
again).
The first to become aware.
All actors and actresses of the
courts have recognized that after
participating in this project their
perception of the glass recycling
process has changed and everyo-
ne has discovered something they
did not know.
"Although my husband at home
who cares to recycle more, I am
well acquainted with that packa-
ging must be deposited in the
green igloo," said Boris Izaguirre, "so
I was very surprised to discover that
some people still mix containers ce-
ramic and glass tiles, which seriously
hinders the recycling of glass con-
tainers. "
Meanwhile Ivan Sanchez, though it
is a responsible consumer recycled
glass that usually did not know the
reason that the cups and wine glas-
ses should not be deposited in the
green igloo because its composi-
tion contains heavy metals like rust
lead, and Elena Furiase acknowled-
ged that having seen the process
of recycling glass in first person is
highly motivated to recycle more,
"From now on will place a bucket to
collect all glass containers and
bring them down to the container
green ".
They are a reflection of doubts and
ignorance that many Spanish peo-
ple have about the process of recy-
cling glass, recycling glass even
those not always correctly or do not
know all the benefits.
"By participating in this project I dis-
covered, for example, that the
energy saved by recycling glass
bottles 4 could run a refrigerator for
a day," said Edurne.
Boris Izaguirre's statements in the
short do not believe they are very
accurate:
"You can alter the recycling chain if
you do it wrong. If, for example, in
this green glass igloo throw glass is
not the same. A glass of wine, a
glass of champagne, a glass, not
necessarily glasses are glass and
can not go together. "
Crystal is a homogeneous solid that
has an internal structure of its parti-
cles ordered lattice are atoms, ions
or molecules. The word comes from
Greek Crystall, the Greek name gi-
ven to a variety of quartz, which to-
day is called rock crystal.
A glass of wine or champagne or a
glass, without more, can not be
considered as crystal.
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Page 22
Our activities .
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2011.
Cultural Tours.
Culture 2011 Programme.
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On 8 November the Prado Mu-
seum opened to the public ex-
hibition 'The Hermitage in the
Prado', which show through one
hundred twenty works of great
variety and richness of the Rus-
sian museum collections from
the V century BC until the twen-
tieth century, through outstan-
ding archaeological pieces, de-
corative arts and painting the
magnificent funds,
sculpture and drawing, which
makes him one of the leading
centers of world art.
The exhibition, organized by the
Museo del Prado, Spanish Cultu-
ral Action (AC / E) and even the
State Hermitage Museum, spon-
sored by the BBVA Foundation, is
a unique and extraordinary op-
portunity to be the first time it is
displayed outside the Hermitage
a very important and large se-
lection of works from their ex-
ceptional collections.
Among the great masterpieces
of painting that will be part of
this exhibition include such nota-
ble examples as the San Sebas-
tian of Titian, Caravaggio's Lute
Player, San Sebastián de Ribera
and Velázquez Luncheon.
They will also accommodate
two important works from the
collection amassed by the Her-
mitage Rembrandt, Portrait of a
scholar and Fall of Haman.
Among the sculptures, you can
highlight the terracotta sketch
for Bernini Ecstasy of St. Teresa,
and one of the masterpieces in
marble of Antonio Canova, the
penitent Magdalene.
As for the decorative arts ob-
jects, will include the sword de-
corated with silver, rubies and
diamonds, donated to the Tsar
in the eighteenth century by the
Indian ambassador, and the be-
autiful flower vase in rock crystal,
gold and diamond jeweler the
imperial family, Carl Faberge
(1846-1920).
In this November will visit the exhibition "Sorolla
Granada" displayed from October 4 at the Museo
Sorolla.
Since his first visit in 1902 Sorolla was dazzled by
the landscape and the monuments of the city.
The exhibition brings together 24 of the paintings
the artist made several trips there.
Sierra Nevada, the views of the city or the court-
yards and towers of the Alhambra are among the
reasons that captivated the painter.
The landscapes are key held in Granada in its
production.
Page 23
Glassblowing course in Cartagena.
Employment Councilman of the Ci-
ty of Cartagena, Diego Ortega,
accompanied by the Director of
the ADLE, Francisco Garcia Valen-
zuela, and the President and Vice
President of the Association of Arti-
sans of Santa Lucia Glaziers, Ma-
nuel Gil and Francisco Garcia, at-
tended the opening of course to
welcome the students selected
and show your support for this trai-
ning to retrieve one of the oldest
professions in the history of Carta-
gena.
City of Cartagena. Monday, Octo-
ber 24, 2011
As the Councillor for Employment,
Diego Ortega, this course provides
the Museum of Glass's ability to
continue the tradition rooted in the
neighborhood of Santa Lucia, and
by which were created true works
of art.
The vice president of the Association
of Artisans Glaziers, adds that the
goal is to recover the tradition of
glass and train new professionals to
keep alive the craft.
Francisco Garcia claims that are
particularly excited because today
begins another chapter in the histo-
ry of the tradition of glass Cartage-
na.
The fifteen selected students have
started the training on Monday and
end on December 9 this year, an
action that takes place from Mon-
day to Friday from 09.00 to 14.00
hours in the workshops of the Glass
Museum in Santa Lucia.
During the 138 hours of lessons, parti-
cipants will learn, among others, is-
sues such as the preparation of the
furnace, blown glass pieces com-
pletion, with a duration of 138 hours.
From these pages, and a healthy
dose of envy, we give you our most
affectionate congratulations on this
initiative and we hope to be exten-
ded to other institutions in our coun-
try windows.
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Walk In Style 2011 Award.
ECCO is Danish design. So this year,
the ECCO Walk in Style award trop-
hy is designed by Danish glass artist
Tobias Møhl, epitomizing Danish
glass craftsmanship at its best. We
catch up with the 41-year-old vir-
tuoso, who was educated at the
famous Holmegaard glass factory,
to learn more about the trophy
and his flourishing career.
The result of a close cooperation
between ECCO and Møhl, the
stunning piece – a glass shoe – de-
monstrates what you can achieve
with glass when you fuse expert
craftsmanship and Danish design.
“When we design shoes, we aim
high in terms of quality, craftsmans-
hip, technology and Danish design
standards. That’s why we wanted
to team up with Tobias Møhl to
create the 2011 ECCO Walk In Style
trophy,” says Matthias Schwarte,
ECCO’s Global Event and Spon-
sorship Manager.
“The trophy is as close as you can
get to a real-looking shoe using
glass,” explains Møhl. “I used a lot
filigree patterns - a method where
you use bands of twisted threads –
to make it as true to life as possible
and to showcase the fantastic
qualities of glass.”
How did you develop an interest in
glass?
“I came across glassblowing when
I was twelve years old during a fa-
mily holiday in Skagen, Denmark.
At that time, there were lots of
small glass studios popping up all
over the country, including Skagen,
which is traditionally where many
famous Danish artists have lived. I
went to visit a glassblower working
in his studio and immediately be-
came fascinated by the art. There
is a tradition of creativity in my fa-
mily: some of us are musicians and
my grandmother was a ceramicist.
When I was thirteen, I went back to
Skagen for a short period of time.
And when I was seventeen, I star-
ted working as a glassblower ap-
prentice at the world-famous Da-
nish glass factory, Holmegaard.
What is your design philosophy?
My interest in aesthetics and beau-
ty drives my design.
What other artists inspire you?
I am very much inspired by cerami-
cists Bente Hansen and Janne Reu-
mert, among others.
How did Møhl & Drivsholm Glass
come into existence?
My wife, Trine Drivsholm, and I star-
ted Møhl and Drivsholm Glass
about fifteen years ago. We had
met each other a couple of years
earlier. We needed a place to
work and it has always been a dre-
am of ours to be able to design and
sell our own things.
We ended up in Ebeltoft because
we both got jobs at the Ebeltoft
Glass Museum. Suddenly, a house
came up for sale in Ebeltoft and we
thought it would be nice to live
here permanently. Ebeltoft is the
glass center of Denmark. There are
seven other glass studios and the
glass museum, which provides a
window to the international glass
industry.
Have you been inspired by Danish
design?
For several years, I studied Venetian
glass art to learn from the real mas-
ters. However, I am mostly influen-
ced by the Danish design tradition. I
like the simplicity – simple shapes
and decoration. I am always plea-
santly surprised by how much res-
pect Scandinavian design receives
around the world. And I’m grateful
that the old Danish designers pa-
ved the way or younger genera-
tions.
Where can one buy your work?
I sell my designs in my own galleries.
I have a gallery in The Netherlands,
one in the United Kingdom, and of
course my Ebeltoft gallery, which
has small-scale production. But my
main focus is on my two galleries in
the United States. My most original
pieces and installations go there. I
also work with the Heller Gallery in
New York City and with galleries in
Seattle and Aspen, and recently
started working with the Adrian Sas-
soon gallery in London. I usually
have a couple of shows with them
every year and they take me to dif-
ferent trade shows, like the SOFA
show in Chicago and New York.
What are your upcoming projects?
I have a solo show coming up at
the well-known Heller Gallery in
New York. I’ve worked with this ga-
llery for five years but this will be my
first solo show. I’m also preparing a
show at the Ebeltoft Glass Museum
together with my wife.
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Other trends. The Sorolla Granada.
It was love at first sight. Sorolla Gra-
nada was first seen in a brief trip in
1902, discovered the peaks of the
Sierra Nevada where he began the
affair.
He came back three times to paint
a total of 46 paintings depicting
the streets of the city and the Al-
hambra. Until February 22 can be
seen in the Museo Sorolla 24 of the-
se paintings in the exhibition Sorolla
Granada.
None of the pictures of the sample
is in the Andalusian capital
"It shows the painter as an artist
more complete, less unique and
more complex palette. The pain-
ter's vision beyond the joy to spend
the painter of melancholy, a con-
cept exemplified in Santiago Rusi-
ñol romantic and lonely gardens,"
explains Eduardo Quesada Gilder,
curator of the exhibition.
Among the paintings there are re-
creations of rooms of the Alham-
bra, corners of the gardens of the
Generalife and the Albaicin sunny
streets, the neighborhood that spills
down the slope that faces the pa-
lace.
"The importance of this selection is
that it shows the great view of Soro-
lla. Many are kept as the artist saw
them, but others have changed for
the worse and they are unrecogni-
zable," said the commissioner.
At the opening were political and
Esperanza Aguirre, Ana Botella and
José Torres Hurtado, Mayor of Gra-
nada.
"It captures the essence of Grana-
da in Sorolla's brushes," explained
the ruler of Granada.
Interestingly, none of the 46 pain-
tings by the artist on the Andalu-
sian city are in the Museum of Fine
Arts in the city.
All lie in the Museo Sorolla in Valen-
cia Museum and private collec-
tions, as well as the tables was the
family.
Miguel and Fabiola Lorente Sorolla
and are great grandchildren of the
Valencian painter, and both follow
the footsteps of his grandfather gi-
ving painting classes.
Upon entering the former home of
Sorolla in Madrid, both feel they
are "family, such as at home." "I re-
member when my grandmother
came with Elena and the museum
was a disaster.
We sat in the chairs in the studio
and spent the afternoon there,"
says Fabiola. Both are well aware
of his great-grandfather's work and
pass the old house painter in
Madrid often.
"Sorolla was a great painter, but
Granada was in landscape pain-
ting from the nineteenth century.
Moreover, since the musicians had
come Falla, Breton, Debussy ... Soro-
lla said Tárrega Grenada had a de-
af beauty, not very bright but very
deep, "explains Michael, who adds
that his grandfather" did not seek
the arabesque, but a more con-
temporary Granada. "
Both agree their favorite part of the
exhibition: the landscape of the Sie-
rra Nevada.
"There is a picture that impresses me
much, which is made from the Mira-
dor de San Nicolas. It's amazing
that view of the Alhambra with sno-
wy mountains behind," said Fabiola,
who comes once a month to the
museum to accompany friends in
the visit.
Michael, who has one of the pictu-
res of Sierra Nevada of his great
grandfather at home and not get
tired of looking at it, also likes the
"it's like an aerial view of the Albai-
cin," although "they are all beauti-
ful, with the same brush loose Soro-
lla feature. "
"The two sites which were my great-
grandfather liked to Javea and
Granada. Sorolla painting traveled
throughout Spain, but always went
because I wanted to Granada.
And that the pictures had no outlet
Granada, in fact everyone in the
museum at Unlike Javea, which
sold like hotcakes, "says Miguel.
In the temporary exhibition space is
dedicated to the Granada sources
sketches Sorolla then wanted to ta-
ke your garden, and two pictures of
the exterior of the museum, the ar-
tist set as your particular Generalife.
In addition, several windows are dis-
played Sorolla letters to his wife in
which he describes his fascination
with a grenade "precious." Valencia
was their land, Madrid and Grana-
da home, her lover.
Granada Sorolla. Sorolla Museum (Paseo
del General Martinez Campos, 37). From
October 4 to 22 February. Free tours Tues-
day through Saturday.
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Sofa Chicago 2011.
From 4 to November 6 in Chica-
go held the eighteenth edition
of one of the most prestigious art
fairs in the world.
She attended numerous galle-
ries, representing an impressive
number of artists and exhibiting
their latest works.
This year attended by more than
60 international galleries.
On this occasion, for the second
consecutive year, SOFA CHICA-
GO share the Pier's Festival Hall
with The Intuit Show of Folk &
Outsider Art.
SOFA CHICAGO will have spe-
cial exhibits of famous museums,
universities and arts organiza-
tions as well as a wide range of
conferences, all included in the
ticket price.
Exposure of the Blue Rain Galle-
ry's work will be conducted join-
tly by the acclaimed artist Pres-
ton Singletary and Dante Mario-
ni (that individually have very
different styles and different).
The two share a long history,
having been classmates, and
when working together, combi-
ning their talents produce somet-
hing truly exceptional.
For the second consecutive year,
The Art Fair Company produces
The Intuit Show of Folk & Outsider
Art Fair in the same SOFA CHICA-
GO, due to the resounding suc-
cess of the fairs combined 2010.
The Intuit Show attends the same
time and with SOFA CHICAGO
2011 at the Festival Hall at Navy
Pier and again occurs in non-
profit group, Intuit: The Center for
Intuitive and Outsider Art.
The Intuit Show brings together
suppliers and galleries around the
country, self-taught art, outsider
art, art brut, ethnographic art,
non-traditional folk art and visio-
nary art.
All artwork is for sale.
Lecture presentations and special
exhibits are also planned for the
demonstration of Intuit and as
SOFA, Chicago with educational
programming.
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Glass workshop in Murcia (V).
JIMENEZ PEDRO CASTILLO
JULIO NAVARRO PALAZÓN
JACQUES THIRIOT
HOUSE D
Abutted the southern flank of the
parapet and there is the possibili-
ty that its main entrance was al-
so in this impasse if, as I said be-
fore, the door that we identified
as Building C was in fact access
to the house (Fig. 3).
The only space we could dig up
to the north room, as usual, is
rectangular with alhanías at its
ends, must be open to the south,
for there must be placed in your
yard (Fig. 3).
The only bay we could dig, co-
rresponds to the north room, as
usual, is rectangular with alhan-
ías at its ends, must be open to
the south, for there must be pla-
ced in your yard (Plate 11) it was
impossible exhumed since the
farm was introduced under
which currently limits the solar
south.
The total width of the room is
3.06 m and 10.60 m length inclu-
ding both alhanías; had a floo-
ring of brick spicatum raphe in
very well preserved, similar to
that of the alhanías, whose
provision is usually somewhat hig-
her.
The walls separating the lounge
alhanías had a width of 50 cm,
its foundation and the base was
a piece of mud mortar while the
rest of the flat ground was mud.
At a later stage the jambs of the
opening of the Eastern alhanía
were reinforced with brick pillars.
The wall that enclosed the house
overlooking the front parapet
wall which was a solid founda-
tion and bottom mud were the
work of concrete while the rest
of his land would be raised, as is
usual in this architecture.
It should be noted the exceptio-
nal nature of the foundation,
which stands at -2.30 m above
the ground level of the room;
this is due to the depth and
proximity of the culvert that runs
along the parapet.
Before we discussed the building
D, partially invade the street, al-
most left his north wall adjacent
to the old culvert, whose fund
was at a depth of approximate-
ly -1.80 m above the floor of s.
XIII.
For the same reason, the wea-
kest point of the foundation, the
northwest corner, was reinforced
with a rope well squared blocks
and blight (Plate 1).
E AND G HOMES
These two adjacent houses se-
em to have a history that closely
interrelated, making it conve-
nient to discuss them together,
as we now turn.
House E
The knowledge of it we have is
very fragmented due to altera-
tions in the archaeological de-
posit caused the construction of
nineteenth-century mansion, se-
veral belts of foundation sec-
tions and installed in a pit south-
west corner and a great shoe
that served basis for the main
staircase.
Limited on the south side with
the parapet, on the west by the
glass workshop in the north with
the house F and east with hou-
sing G (Figs. 3 and 6, Plate 12).
He had a total area of 45.6 m2
approximately trapezoidal distri-
buted on a plot of 6 x 7.60 m.
All dividing walls have been pre-
served except the east, which
we know only its northern end
was of brick and almost devoid
of foundation, it is likely that the
smaller funds due to the house
before us and which we call G
were home the same property.
This hypothesis seems confirmed
by the wall that both buildings
have in common with the F cer-
tainly raised a work at once, wit-
hout interruption, and by con-
ducting in mud mortar, the same
factory that had the Western sha-
recropping.
The structure that separates the
parapet, however, is an adobe
building which is inner and outer
mud mortar.
This technique, a variant of cali-
castrado mud in which the mor-
tar savings to the greatest availa-
ble only in the most exposed side,
there is also documented in the
wall that closes the house by 6,
oeste8 Siyasa.
About internal distribution only
we have more data than provi-
ded by the remains of three
straps of foundation, one of
which may not correspond to the
same phase as the other two.
It seems clear, in any case, we
are facing a typical Andalusian
central courtyard residence with
two or three bays around.
It had a bay north of 6 x 2 m wi-
de, which occupied the entire
front of the parcel was separated
from what must have been the
courtyard of a mud wall with
mortar foundation that included
numerous medium-sized stones
and had an approximately 20
cm rezarpa boot.
Nothing we know of his or her flat
pavement, but the foundation
has on top of brick work, the re-
sult probably of a repair.
Its size, its implementation across
the whole width of the plot and,
above all, its orientation at noon,
lead us to identify it as the main
hall.
Perpendicular to the southern
wall of the room starts another
belt to the south the same as be-
fore, although it lacks rezarpa
and shallower.
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The Large Glass at the Reina Sofia.
Artists such as Marcel Duchamp,
Max Ernst, Salvador Dalí, Jean Tin-
guely, Joseph Cornell, Man Ray
and Roberto Matta said fans of the
work of the poet, playwright and
novelist Raymond Roussel. With
over 300 pieces (paintings, photo-
graphs, sculptures, installations and
videos) the Reina Sofia Museum ex-
amines the influence of the French
writer in the twentieth century aest-
hetic paradigms.
The director of the Reina Sofia Mu-
seum, Manuel Borja-Villel, this show
is a "claim" Raymond Roussel whom
he describes as a Locus solus of lite-
rature, which always appears in an
"underground" or subtle and whose
work sets up a " cabinet of curiosi-
ties or wonders. " Borja-Villel has cu-
rated the exhibition along with Fer-
nandes and François Piron.
The exhibition begins with the work
of Jacques Carelman Le Diamant
(Diamond), a large format sculptu-
re inspired by an episode of Locus
Solus, rarely exposed previously
and has been restored for the oc-
casion.
Then, paintings, photographs,
sculptures, installations and videos,
plus numerous books, documents,
periodicals and manuscripts, will
show the strong impression he had
on some movements Roussel art,
especially surrealism.
In this sense, the exhibition high-
lights how passionately defended
surreal work of Russell who called
the "great magnetizer" of modern
times.
Raymond Roussel (Paris, 1877 - Pa-
lermo, 1933) was born into a wealt-
hy family of the gentry, educated,
cultured and nostalgic. Thus the
first exhibition hall located at Ray-
mond Roussel in context through
extensive paperwork and several
photographs, mostly from the Bi-
bliothèque Nationale de France,
and tell his childhood, his youth, his
family ties and interests and obses-
sions.
Then a section entitled the Idols
heading displays a cosmogony of
the characters deeper impression
on the imagination of Roussel: wri-
ters Jules Verne and Victor Hugo,
Victorien Sardou playwright and
astronomer, inventor and writer
Camille Flammarion. In this space
on the Idols are displayed first edi-
tions and manuscripts of the aut-
hors cited, and three drawings of
Victor Hugo.
One of the most curious is the cos-
mic star. This is a star-shaped coo-
kie that Flammarion gave the
writer on one occasion. The star,
who Roussel kept in a box of glass
and silver in the same way, accom-
panied by an explanatory label
commemorating the event, was
lost after his death. It was found by
Dora Maar years later.
Under his influence on the Surrea-
lists, noting numerous works of Sal-
vador Dalí, among which Endless
Enigma (1938) or Lilith - Hommage à
Raymond Roussel (Lilith - Homage
to Raymond Roussel, 1966), several
collage by Max Ernst and four of
the series La femme 100 têtes (The
female / one hundred heads, 1929),
Goethe et la Metamorphose des
Plantes (Goethe and the Meta-
morphosis of Plants, 1940), André
Masson. Also mention the action
figures Man Ray or Lienz Locus Solus
(1941-42), Roberto Matta.
Following the line of influences that
Roussel had on key artists of the
avant garde, the tour of the exhibi-
tion space devoted to Marcel Du-
champ. As François Piron, curator of
the exhibition, from the forties Du-
champ assert publicly on numerous
occasions how important it was
Roussel for his work.
You can see the French creator fa-
mous works such as The Large Glass
or works coming from important co-
llections, such as Coffee Mill
(Coffee Grinder, 1911), the Tate
Modern; Trébuchet (Hanger, 1917),
Muze given by ' on Yisrael in Jerusa-
lem, or the part of Richard Hamilton
in 1971 from Duchamp, Sieve
(Sieve, 1971), part of the Museum's
collection.
As Roussel was a great passion to
travel, the exhibition will also stop in
this artistic discipline where you will
be manuscripts, first editions and
prints inspired by Roussel's theatrical
productions, as well as representa-
tions that marked him: the adapta-
tion of Tosca, by Victorien Sardou,
represented by Alphonse Mucha in
a promotional poster is an example.
Also on display testimonies, images
and texts, the many trips he made.
In 1920 he toured the world, in imi-
tation of Jules Verne character, Phi-
leas Fogg.
He made four trips exotic and often
toured the European continent. His
death occurred in Palermo, just one
of those trips. Ensures that he sought
inspiration in them and that their
purpose was purely "literary docu-
mentation."
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Art and Artificial Life Competition.
The jury LIFE 13.2 of the Telefónica
Foundation has awarded an hono-
rable mention to the work
"Transducers" by German artist Ve-
rena Friedrich.
This facility, which mimics the ma-
chinery and procedures for bios-
cience research, consists of a set of
devices fabricated as tubular glass
and suspended vertically to eye
level, a rod-shaped structure that
provides them with metal energy.
The nuclear component of each of
the glass tubes, arranged so that
viewers can move between them
and experience them from all an-
gles, is a single human hair.
Each of the "Transducer" glass also
contains a set of tiny mechanical
devices consisting of a trigger and
a reader manufactured from cus-
tom printed circuit boards and
electronic components fitted and
the means to produce a vibratory
response audible reading based on
capillary DNA.
Biological specimens and genera-
ted a soundscape in which, to wan-
der between the transducers, are
heard only vibrations that contribu-
te to this unique polyphony of
human hair.
Visitors can give their own coded
samples for future exhibitions and
record the donation in a searcha-
ble archive.
In this pseudo-aesthetic mantra, li-
terally the hair is manipulated as a
repository of identity.
The system works metaphorically in
several interrelated levels, combi-
ning orthodox metrics cleanroom
laboratory with the mysticism of reli-
gious shrines house sacred relics,
and the hum of the machines per-
fectly conveys the fragile precise
uniqueness of human remains .
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Tree of life.
PROJECT
Trees of Life
Glaziers Artists Group of Curitiba
2011
OBJECTIVES
- To spread the concept of sus-
tainability through processing,
recycling and reuse of materials
such as glass.
- Working to raise awareness
about conscious consumption;
- Spread the glass art and artists
potential Curitiba.
DESCRIPTIVE MEMORIAL
Our proposal is to plant a tree
with the intention to remember
the need for sustainable projects
in the world.
Each tree will have design ele-
ments of each specific project.
BACKGROUND
Environment:
The reuse of glass, where the
percentage of recycled mate-
rial in the country, Brazil - curren-
tly accounts for only 40%
(ABIVIDRO).
Cultural:
Develop artists and art glass,
add value to the institution, and
supporter of the city.
MEMBERS
1. LOIRE NISSEN
2. DESIREE SESSEGOLO
3. THEREZINHA AMARAL
4. SILVANE BURKOT
5. SELENE CALAFANGE
6. EUGENIO FERENC
7. SOELI FERENC
8. MARIZE SABOIA
9. ELIANE CHICHOF
10. LUCI REGIS
11. DENISE NISSEN
12. CELINA MARCONDES
13. DIVANE DARIM
14. REGINA LAGANA
15. FATIMA GOULART
SOME EVENTS
2009 - Institute Exposição not Mo-
kiti Okada Coletiva Fenavid Rio
de Janeiro
2010 - Eko Glass - SESC São Paulo
Água Verde Fenavid
2011 - Casa Cor FIEP Fevavid Flo-
rianópolis
TREE OF LIFE - PLANTS
- FIEP - Federação das Industrias
do Estado do Paraná / PR - 2011
- Fenavid-Feira Nacional do Vi-
dro - Florianópolis / SC - Brazil -
2011
Some media reports TRANSMIT-
TED
http://www.guiasjp.com/
opcoes.php?
op-
tion=5&pubb=&tela=1152x864&o
ption=5&id_noticia=25409&id_ca
n to = 45
(Http://
www.mosaiconarede.com.br/
noticias.php)
http://
bebelritz-
mann.blogspot.com/2009/10/
eko-glass-lanca-colecao-2009-
de.html
http://
www.arteilimitada.com.br/
desta-
ques_2009+exposicao+vidros+cu
ritiba+mokiti+okada
. Htm http://
mediacenter.clicrbs.com.br/
rbstvsc-player/47/player/191440/
bom-dia-sc-23-
06-2011/1/index.htm
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How does.
This month we include some pictures of the technique practiced by Paco Ramos in his workshop Vimbodí
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IV Luso-Spanish Congress of Ceramics and Glass.
Portuguese and Spanish Society of
Ceramics and Glass, announce the
celebration of the Fourth Congress
of Luso-Spanish Ceramics and Glass
(ivclecv.web.ua.pt), to be held at
the University of Aveiro 16 to No-
vember 18, 2011.
Since the last Luso-Spanish Con-
gress of Ceramics and Glass (1988,
Leiria), both communities have se-
en significant developments that
have resulted in the creation of
new research centers linked to the
areas of ceramics and glass and a
large expansion respective indus-
trial sectors.
This economic crisis is seriously af-
fecting these sectors, in particular,
more related to construction activi-
ty, which calls for a critical analysis
of the situation and progress in the
areas of research and technologi-
cal innovation for the development
industrial products with higher ad-
ded value and unique way to mini-
mize the effects of the crisis.
And vitreous ceramic materials are
increasingly greater extent, associa-
ted with applications in areas such
as health, energy, transport and ot-
hers.
In parallel, the conditions associa-
ted with environmental and energy
issues, require an appreciation of
the role of rising raw materials and
associated issues such as recycling
of waste or the control of gaseous
emissions.
All these issues will be the prime in-
terest at meetings of the Luso-
Spanish Congress IV Ceramics and
Glass.
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Page 33
Vidriarte Course.
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Page 34
Glassblowing in Malta.
During a stay in Malta, one of the
most curious and fascinating vi-
sits that can be done is to Ta'Qali
Craft Centre, popularly known as
the town of artisans because
that gather the best professionals
in the traditional arts of the is-
lands and not only manufacture
products that supply the stores of
the city but they do live demons-
trations of glass blowing, for
example, to immortalize it with a
camera (hotels and tour opera-
tors are organizing).
Located in the hangars of the
former military airfield in the
northwest, the military base used
by the RAF aircraft during the Se-
cond World War (and now only
fly small aircraft model airplane,
if it persists Aviation Museum),
glass, ceramics, jewelers, wea-
vers and potters working in the
development of genuine
products which then seals the
Malta Crafts Council.
Dishes, vases, bowls, bottles and
glass figurines are one of the fa-
vorite tourist specialties when it
comes to buying a souvenir of
your trip because Maltese glass-
ware stands out for its beauty
and vivid color.
But above all, being made with
the ancient technique of blo-
wing, introduced in the archipe-
lago by the Phoenicians thou-
sands of years ago and turned
into industrial activity, although
family tradition most recently in
1968.
The technique of blow molding is
based on a glassy mass obtai-
ned by merging more than a
thousand degrees, from raw ma-
terials such as sand, limestone,
soda and pigments, among ot-
hers.
A semi-liquid paste this practice
was a hole in which is inserted a
hollow tube that will help the
master craftsman and go blow
swollen the desired shape is
achieved with the help of exter-
nal tools.
And you can witness, duly pro-
tected by a glass partition, in a
few minutes, as if by magic, an
incandescent mass will be trans-
formed into a work of crafts-
manship.
It is difficult to Ta'Qali it almost
certainly will catch on the way to
Mdina. It's a couple of miles of it,
on the road to Rabat.
But Ta'Qali Crafts Center is not
the only, find one in Ta'Dbiegi, on
the outskirts of Gharb (Gozo), gi-
ven the existing demand from
the start of exports in 1970.
Hilton customer, for example.
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Page 35
Glass Staircase Glass Tower.
Bellapart was the company res-
ponsible for the construction and
installation of the glass staircase
located in the lobby of the new
headquarters of Mutua Madrile-
ña in the Crystal Tower building
located at Paseo de la Castella-
na in Madrid, skyscraper desig-
ned by the prestigious architect
Cesar Pelli of Pelli Clarke Pelli and
Leo Ortiz.
This is a spectacular glass stairca-
se 1816 mm. step width of 33
steps, including two intermediate
landings and a glass floor on the
first floor with dimensions of 3157
x 9060 mm., consisting of stainless
steel side rims support including
connections to the structure with
columns.
The treads and landings are ma-
de of multi laminated glass
12.12.12 colorless, with a glass
top Matelux Antislip (treatment
slip) SentryGlas Plus AGC of 1.52
mm. DuPont to the edges and
beveled edges.
In this glass has been applied
heat treatment necessary for the
absorption of the stresses in the
glass plate.
The stainless steel metal brackets
are specially designed for this
ladder and CNC machined for
fixing the glass steps to the rim
side of stainless steel with locking
caps, aviaries and high-strength
structural adhesives.
Handrails on both sides of the
ladder are also glass, made from
laminated tempered glass color-
less 12T +12 T HST with polished
edges and a 1.52 mm interlayer.
SentryGlas Plus.
The height of the rails is one me-
ter and are attached to the side
wheels with a special stainless
steel fasteners designed and
CNC machined.
Finally, the staircase is equipped
with a handrail along its length of
50 mm stainless steel. set higher
than the glass railings.
The glass floor on the first floor at
the end of the ladder has been
installed by a grid of stainless ste-
el girders and glass.
The attachment system of glass
and handrails is the same as that
used in the rest of the stairs.
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Page 36
Is the world's most expensive apartment?
165 million euros: an exclusive
home at One Hyde Park
(Knightsbridge, City of Westmins-
ter) in London (UK) located in a
building consisting of four towers
covered with 14,000 square me-
ters of triple glazing with coated
glass for solar control perfect cli-
mate.
A luxury neighborhood's best res-
taurants, exclusive boutiques
and now, perhaps the world's
most expensive apartment, One
Hyde Park.
The 14-storey building, opened in
the spring of 2011, is a complex
of four interconnected towers
designed by architect Richard
Rogers of Rogers Stirk Harbour +
Partners.
The people of the penthouses
will enjoy spectacular views of
the city of London and Hyde
Park thanks to large window are-
as in each room.
To ensure transparency totally
neutral, as well as thermal insula-
tion in the winter and sun in sum-
mer, the choice is a triple glass
glazing.
Interpane was commissioned to
provide for construction of 14,000
square meters iPlus E insulating
glass with glass solar control layer
ipasol Neutral 61/33.
One Hyde Park enjoys a privile-
ged position, with Hyde Park on
one side and Knightsbride on the
other.
Hyde Park, the best known of the
eight "Royal Parks", covers an
area of 1.4 square kilometers
and is one of the most beloved
sites both Londoners and tourists.
The lake is perfect for swimming
or paddling, and you can even
fish with a special permit.
If you prefer dry land activities,
there are facilities for horseback
riding or bowling, or just have a
picnic on the grass.
Also in this area are the most ex-
clusive stores like Harrods, Harvey
Nichols or Prada, the best restau-
rants and clubs and trendy bars,
and even Buckingham Palace is
less than a mile.
The apartments also have a 5
star room service 24 hours a day
by the Mandarin-Oriental Hotel.
Glass with unique architecture
ipasol neutral.
Four towers of between 10 and
14 floors linked by stairs and lifts
glass, with a private under-
ground parking and 84 luxury
apartments including four pent-
houses.
The story more "affordable" cost
6.4 million euros and the most ex-
pensive reaching up to 165 mi-
llion euros.
The most exclusive of all has two
levels, seven rooms and a total
area of 2,700 square meters, plus
360-degree views of Hyde Park
and London.
Highly neutral glasses allow us to
observe the bustle of the streets,
while the performance of solar
control ipasol 61/33 stays prevent
overheating in summer, reducing
air conditioning costs without
having to give up a lot of natural
light.
In cold weather, the low value of
tripre Ug iplus E glazing layers
provides high thermal insulation.
Thus, the energy properties of the
facade reduce energy con-
sumption and help protect the
environment.
Residents are equally well pro-
tected, since the facade and
windows are explosion proof and
bullets, the elevators are activa-
ted by control retina, the security
staff was specially trained by the
Special Air Service (SAS) and
apartments There is more exclusi-
ve panic room for protection
from possible intruders.
Richard Rogers, whose architec-
tural firm designed the building,
was awarded the Pritzker Archi-
tecture in 2007.
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Page 37
Castillo de San José de
Valderas.
Avda. Los Castillos, s/n
28925 ALCORCÓN
MADRID
Nuestro Boletín tiene su
redacción en:
Al vidrio por la cultura
The Association of Friends of MAVA was incorporated on Ju-ne 21, 2003 in accordance with
existing management.
The purpose of this Association is to promote, encourage and
support many cultural activities in the broadest terms, are rela-ted to the mission and activities of the Glass Art Museum of Al-
corcon.
Our goal is to develop and co-llaborate with other public or pri-vate entities to promote, protect and promote the art and culture. Our members may be fees, be-
nefactors, Full and juveniles.
www.amigosmava.org
Presidente honorario
Javier Gómez Gómez
Presidente
Miguel Angel Carretero Gómez
Vicepresidente
Pablo Bravo García
Secretaria
Teresa Fernández Romojaro
Tesorera
Mª Angeles Cañas Santos
Vocales
Rosa García Montemayor
Evangelina del Poyo
Diego Martín García
Francisco Martín García
Mª Luisa Martínez García.
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Tecniques. Images (I).
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Figure I Figure II
Figure III Figure IV
Figure V Figure VI
Page 39
Tecniques. Images (II).
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Figure VII Figure VIII
Figure IX Figure X Figure XI
Figure XII
Page 40
Glass Workshop. Images.
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Fig. 3
Plate 11
Plate 1
Fig. 6
Plate 12
Page 41
Roll Up in Azuqueca de Henares. Images (I).
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Page 42
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Roll Up in Azuqueca de Henares. Images (II).
Page 43
Biennal of Glass Strasburg. Images (I).
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Joan Crous
Littelton
Libensky
Gasch-Muche Breed
Cigler Leperlier
Biennal of Glass Strasburg. Images (II).
Page 44
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Farcama 2011. Images.
Page 45
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Vesa Varrela. Images.
Page 46
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