Download - Bulletin nº 46
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. In another. M. A. Carretero.
Good Friends, we're run-
ning another period of ti-
mely appearance of our
Newsletters.
We get a new rest and re-
newal of strength to under-
take a new one with new
news, new exhibits, new
views and new artists who
bring to our pages.
Despite the tremendous
economic desert we are
experiencing, our evolution
is still positive.
Even with a slow pace,
whenever we have more
members and continue to
increase our fans on Face-
book and on our website.
Our newsletter continues to
increase the number of re-
cipients and we are aware,
through our visits and our
attendance at exhibition
openings, of which there
are many world artistesa-
nos glazier who are interes-
ted in what is published in
its pages.
Our main interest is to spre-
ad our culture Museum
and glass in general. If we
do our bit to achieve this
we will be very proud of.
We are well aware that ti-
mes are going through
very hard for the glass sector
in general, but we also know
that those who work brin-
ging innovation and quality
products, which provide at-
tractive designs and refined
techniques applied to his
creations cross the desert
with more water reserves
than those mold and con-
form to keep repeating the
styles in their productions.
Some day will come when
the clouds dissipate our eco-
nomy. We are sure, but do
not know when will this be-
autiful dream.
It seems a truism, but it's the-
re.
Therefore, they can reach
the longed horizon, not fall
by the wayside for lack of
resources to support this
hard journey, those who do
not live in agony for his me-
diocrity, will euphoric tunnel
to a new stage ready for bo-
ard the bus of progress and
prosperity.
We must also give value
among all the artistic glass
sector the respect due to
their work. No samples may
consent disinterest, if not
contempt, that show every
day actions of politicians in
power who are in key posi-
tions of the bodies at local,
regional level and national
level can govern their ma-
king the future of our artiste-
sanos.
Very recent examples as the
Craft Fair that was held re-
cently at the Plaza del Car-
men, Madrid, with a very
scarce passage of people,
the infrastructure in the Plaza
de San Martin about to
open the Craft Fair in
street adjacent Postigo de
San Martin and the logic
that led protest of those af-
fected.
The absence of advertising
on the conclusion of these
samples of crafts.
And all with a predatory pri-
cing by the occupation of
the stands and they have to
pay them because their live-
lihood depends on it!
The intoxication that are sup-
porting our artistesanos with
consensual seudoferias that
abound in our cities that are
offering products with a
quality resale more than
questionable.
All this allowed, condoned
and sponsored by our local
authorities see this as an ea-
sy profit for their battered
economies, but they are
causing irreparable damage
to our artistesanos, because
the public gets into the sa-
me basket of healthy apples
and rotten and, through ig-
norance of the majority, al-
ways measure the recom-
mended option for the
amount you must pay.
I will say, artistesanos friends,
I'm a heavy, I'm always with
the same song, but I keep
insisting that marriage is the
most powerful and most ef-
fective way to fight with all
such nonsense and lack of
interest part of our authori-
ties in protecting our culture
and your refined techniques,
favoring the invasion of filth
and garbage.
Through September, great
summer!
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
Monthly Newsletter
Newsletters
Richard Jolley
Page 2
C O N T E N T S :
Part of the month 3
Established artists 4
Young artists 4
Normality in the CNV 5
Javier Velasco in Valencia 6
Research line 7
Activities in Museums 8
Conference: Natural glass 11
Activities on the MAVA 12
More about "The Trinity" 13
The Glass in the Prado 14
Technical Glass 15
News 16
Culture 2012 16
Restoration in Malaga 17
Roman glass in Japan 17
The glass museum 18
Staiend glass in Guadalupe 19
Glass recycling 20
Cultural tours 21
Culture 2012 Programme 21
Convention at Navarra 22
Children Guarataro 23
Glass art film 24
Other trends 25
Corning expansion 27
Glass workshop in Murcia 28
Mona Hatoun 29
Lightweight glass 30
Glaziers returning 31
How does 32
Genoveva Garcia 33
Glass Art 2012 34
Angela Teunissen 35
Glasstec in Dusseldorf 36
Benefits in Cantabria 37
Carlo Scarpa 38
Directorate 39
Intellectual Proper-
ty Law
TITLE VI. Cinemato-
graphic and other
audiovisual works.
Any modification of
the final version of
the audiovisual work
by addition, deletion
or alteration of any
element thereof shall
require the prior ap-
proval of those who
have agreed to such
final version.
However, contracts
for production of au-
diovisual works es-
sentially through the
public communica-
tion of broadcasting,
shall be deemed
granted by the aut-
hor, unless stipulated
otherwise, the aut-
horization to
broadcast in the form
of the work the chan-
ges strictly required
by the programming
mode of the medium.
Moral law and des-
truction of original
carrier.
The moral rights of
authors may only be
exercised on the final
version of the audiovi-
sual work.
The destruction of the
original support of the
audiovisual work in its
final version.
Radio works.
The provisions of this
Title shall apply, as
appropriate, to bro-
adcast works.
TITLE VII.
COMPUTER PRO-
GRAMS.
For the purposes of this
Act shall mean com-
puter program any se-
quence of instructions
or data intended to be
used, directly or indi-
rectly in a computer
system to perform a
function or task or to
obtain a particular re-
sult, whatever their
form of expression and
fixation.
For the same purposes,
the term computer
programs also include
their preparatory de-
sign.
The technical docu-
mentation and user
manuals for a program
shall enjoy the same
protection as is affor-
ded to this Title pro-
grams.
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
World of Glass. Moscow 2012.
The International Fair World of Glass,
Moscow 2012 held on 13 and June 16
last has been organized by the Mos-
cow Expo Center and has received
more than 19,000 square feet of space
to display products related to the glass
industry.
This year about 9,000 expected trade
visitors and lovers of glass products
worldwide.
The International Fair World of Glass,
Moscow 2012 meets the interests and
creates a perfect platform for professio-
nal dialogue between manufacturers,
designers, architects, distributors and
others.
The World of Glass, Moscow 2012 repre-
sents a high degree of business world-
wide.
The fair offers a unique opportunity to:
• Introduce new products or brands to
specialists;
SPECIAL INTEREST:
Part of the month
Normality in the CNV
Javier Velasco in Valencia
Natural glass
Activities on the MAVA
News
Our activities
Glass recycling
How does
Important issue: the Intellectual Property Law (XVI) M.A.C.(XVI) M.A.C.(XVI) M.A.C.
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• Understand the needs of customers
through the interest shown in the wide
variety of products;
• Increase brand awareness and rein-
force the image of company / factory
in front of customers;
• Explore the potential of the glass mar-
ket, identify new trends in product de-
velopment;
• Improve the distribution system;
• Expand customer base through new
contacts established during the cele-
bration of the fair;
• Conduct market research to discover
the needs and expectations of poten-
tial customers.
There have been more than 180 partici-
pants and 250 exhibitors from many
countries such as Austria, Belarus, Bel-
gium, Bulgaria, Great Britain, Hungary,
Germany, Israel, India, Italy, Kazakhs-
tan, China, Poland, Russia, USA, Turkey,
Ukraine , France, Croatia, Czech Repu-
blic and Finland. What about Spain?
This year will be a great year for those
working in the glass industry as it has a
higher interest reflected in the number
of exhibitors and visitors attended the
fair.
In addition the organizers are schedu-
led to hold a contest on the following
topics: "Properties excellent products"
and "Success in product quality."
The winners will take many awards and
proposals of the Russian trade sector.
Page 3
Part of de month. Václav Cigler.
time his work at the Milan Trien-
nale and later in Brussels Expo
'58, Expo '67 in Montreal and
Osaka '7.
Throughout his creative life
Václav Cigler has made three
types of works, sculptural ob-
jects in glass optical design mo-
numental lamps and jewelry,
and architecture projects and
compositions.
In museums, the most common
type of work - design and super-
vision on their own, not by his
hand-made objects are optical
glass with geometric shapes mo-
re or less complex, as this work of
MAVA.
Cigler pioneered the 60 of this
form of sculpture called prism
which would be added later and
Marian Karel Zoritchack Yan.
In 1967 he first exhibited these
works in Spala Art Gallery in Pra-
gue, becoming part of the works
brought to the Czech Pavilion at
Expo '67 in Montreal, earning a
distinction (CZECH GLASS 2005:
56).
But perhaps the best work of
Václav Cigler his architectural
projects are executed by order,
as performed at the Embassy of
Czechoslovakia in Stockholm
(1966), the luminous objects in
the National Theatre in Bratislava
(1967-74), water sculptures the
World Expo in New Orleans
(1984), "Pendulum" (1997) in the
Digital building in Prague, etc..
Between 1965 and 1979 he di-
rected the Department of Glass
and Glass teaching the course in
Architecture at the Academy of
Art in Bratislava, Slovakia, while
Libensky 'did at the Academy of
Applied Arts in Prague.
They then both have made their
mark on the work of many gene-
rations of Czech and Slovak ar-
tists.
Václav Cigler is part of the same
generation as Stanislav Libensky
', Rene Roubicek, Vladimir Ko-
pecky' and Jaroslava Bryctová,
the first after World War 1.
As Libensky ', studied first at No-
vy' Bor and then at the Acade-
my of Applied Arts in Prague
with Professor Kaplicky '.
In 1957 he exhibited for the first
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Page 4
Established artists. Richard Jolley.
Young artists. Michi Suzuki.
Michi Suzuki was born in Yamagata
(Japan).
He spent his childhood in this villa-
ge in northern Japan.
Very young, he learned calligraphy
and received the rank of 7th Dan.
1989 to 1995 Michi is stained glass
courses in private workshops in Ja-
pan.
1996 took courses at the Institute of
Glass Art in Tokyo to complete his
knowledge of the art glass torch
section.
Lemonglass. She creates her own
workshop in Japan in Yamagata
and teaches the techniques of ma-
king stained glass. Lemonglass still
active today.
1997 First trip to France. The follo-
wing year, Michi Suzuki lives in Paris
where he studied painting at the
Ecole Nationale Superieure des Be-
aux-Arts in Paris.
2000-2004/2005 Works with glass ar-
tists such as Jean-Pierre Baquère or
Fabienne Picaud.
2006, studied at Cerfav (European
Centre for Research and Training in
Glass Arts) Vannes-le-Châtel, with
the help of a grant from the Ministry
of Culture of Japan.
2007. He specialized in Ikaalinen
School of Crafts and Design in Fin-
land.
2007-2008 exhibited his work and
conducts many workshops in Euro-
pe: Hamburg (Glasdesign), the
School of Crafts and Design Ikkali-
nen Finland, the University of Sars
glass ceramics, in northern France,
at the National Center Foundation
glass in Segovia and the internatio-
nally renowned artist Diana East,
England.
Richard Jolley was born in Wichita,
Kansas in 1952 and then moved in his
youth at Oak Ridge, Tennessee.
In 1970 the artist began his studies at
Tusculum College in Greenville, Tennes-
see. His studies of the glass made un-
der the supervision of Michael Taylor.
In the fall of that year, Jolley perfected
his technique in Penland School of Arts
North Carolina under the instruction of
Richard Ritter.
Jolley continues the teaching tradition
in Penland glass often through pro-
grams designed to engage students at
risk of the Knoxville community with
professional artists.
Maintains a glass studio in Knoxville sin-
ce 1975. Richard Jolley has participa-
ted in solo museum over 65 exhibitions
and galleries throughout the
country and in Europe and Japan.
From early in his career, Jolley had be-
en included in some of the most impor-
tant exhibitions in the world. Museum
of Modern Art, Hokkaido, Sapporo, Ja-
pan in the Glass Exhibition in Kanaza-
wa, Japan, and the Grounds for Sculp-
ture in New Jersey and Laumier Sculp-
ture Park in Missouri.
During the next decade, the artist con-
tinues to include their works in major
museum exhibitions of contemporary
glass and sculpture, as the Indianapolis
Museum of Art, Museum of Fine Arts,
Boston, Renwick Gallery of the Smithso-
nian American Art Museum and the
Carnegie Museum of Art and more re-
cently in the Wornick Colection exhibi-
ted in the Museum of Fine Arts, Boston.
After numerous exhibitions Mark R. Le-
ach's Mint Museum of Art in Charlotte,
North Carolina, organized the first ex-
hibition of glass sculpture by Jolley in
1997.
Then, in 2002 Richard Guber, then head
of the Ogden Museum of Southern Art
and Stephen Wicks, Curator of the
Knoxville Museum of Art, organized the
first major retrospective of the artist, ex-
hibition traveled to 14 museums in the
U.S. for five years.
Since 1973, the artists' work is widely co-
llected both privately and by public ins-
titutions. It is found in over 33 public co-
llections, notable establishments inclu-
ding Carnegie Art Museum, Corning
Museum of Glass, Knoxville Museum of
Art, Los Angeles County Museum of Mo-
dern Art, Museum of Fine Arts, Boston,
Renwick Gallery of the Smithsonian
American Art Museum, Washington,
DC, and Frederick Weisman Art Foun-
dation in Los Angeles.
In 1998, the Tennessee Arts Commission
selected the artist to participate in an
exchange of Tennessee Artist / Israeli
Culture, and in 2009 began to exhibit his
work in the Litvak Gallery, Tel Aviv, Isra-
el. Then in 2011 the artist was invited to
make a new series of art in the study of
Berengo, Murano, Italy.
Current commissions include sculpture
"Everything and the Cosmos" (2007) ins-
talled at Seven World Trade Center,
New York City and glass next largest
installation at the Knoxville Museum of
Art to be completed in 2013.
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Our Web
Our web
Page 5
Normality in the CNV of La Granja.
The activity of the National
Glass Centre (NSC) on Friday
returned to "normal" as the di-
rector of the National Glass
Centre Foundation, Aurea
Juárez.
As announced from the Cen-
tre's management, the entire
workforce, consisting of 55
workers has been incorpora-
ted to work after the second
record of employment regula-
tion (ERE) which were from the
last January.
Aurea Juárez assessed the si-
tuation as "completely nor-
mal" for both workers and for
the School of Glass and
Employment Workshop.
In this sense, explained that
an advance of the grant ap-
proved by the Board of
200,000 euros from Banco
Santander has made possible
the resumption of activity.
For his part, President of the
Works Council, José Luis Du-
que, said that complete nor-
malcy was returning on Tues-
day, as "for technical reasons
the furnace blower needs a
few days to start back to work
one hundred percent."
Jose Luis Duque, as stated
earlier, noted that the center
will face a challenge in the
coming months, in order to
maintain the viability of the
center.
For his part, Mayor of the Royal
Site of San Ildefonso, Jose Luis
Vazquez, has said "I'm really
happy, but wisely."
Vazquez said the effort by em-
ployers, by management and
by workers in the National
Glass Centre.
"This effort ensures that 2012
will be able to afford", but
"moderation because it de-
pends on the viability of these
seven months of 2013," added
the mayor.
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Page 6
Javier Velasco in Valencia.
The regional secretary for Culture
and Sport, Rafael Ripoll, presented
at the Sala La Gallera, the work of
artist from Valencia, Javier Velas-
co.
Ripoll explained that this exhibition,
entitled 'The seventh circle', is inspi-
red by the Hell of Dante's Divine
Comedy transforming this historic
monument of the nineteenth cen-
tury, in a storm of red glass that re-
calls the fire or blood and power is
about life and death. "
Ripoll was accompanied by the ar-
tist and the managing director of
the Consortium of Museums of Va-
lencia, Felipe Garin.
Velasco has become in recent ye-
ars in a reference artist, well known
in the art community of Valencia
and prestigious in the rest of Spain.
So write in their catalog art critics,
Fernando Castro and embodies
Gimenez, besides the Lit House di-
rector of Madrid, Jose Guirao, re-
cognizing great admirers of the
work of Velasco.
According to the Regional Secreta-
ry for Culture and Sport "Javier Ve-
lasco has established a unique sty-
le in the area of the facility with the
use of unusual materials in the arts
such as Murano glass, paint or
chrome mercury."
So has recognized the work of Ve-
lasco "is born and develops in the
same space Gallera vindicating
the traditional nature of the artist in
his work."
At the same time expressed his sa-
tisfaction for having kept the space
of the cockpit as exhibition
hall since "there is no space in Va-
lencia where the symbolism, archi-
tecture and contemporary art are
fused in a very evocative and inspi-
ring for artists" Ripoll said.
Referring to the seventh circle of
Hell in the Divine Comedy, a work
on which many artists and intellec-
tuals have pondered throughout
history, Velasco creates a scene
that moved to the present tries to
show the moment of uncertainty in
which man lives to face the unk-
nown or the feeling of frustration to
reach impossible challenges.
Javier Velasco has recognized that
"the exhibition space of the cock-
pit is certainly one of the most unu-
sual for any artist to make interven-
tions specificati site and knows
adapt their expression to both the
architecture and its history and ori-
gin."
"In my case, I tend to facilities that
fit the structure of the building and
at no time do not try to alter what
already exists. Rather, my job is to
promote and play with the con-
cepts that the building comes from
its past and present. My glass insta-
llations, often ethereal and little
heavy, so it is through the lights
when they come to life and this
"said the artist.
This time the installation, which is
suspended from the ceiling levels,
consists of 94 branches of red glass,
which extend very long filaments
from the sky to the ground, wan-
ting to touch or almost caress the
viewer.
The installation remembers the blo-
od and the power of this about life
and death.
Its development developed in the
same space of the cockpit, has ta-
ken more than a month of work.
Velasco acknowledges that "this is
usually a recurring motif in my way
to work with the facility, and I think it
is an act that enriches the work to
be shared as creative experience."
The exhibition is completed on the
second floor with exposure of the
preparatory work, six paintings and
a video, made by a group of colla-
borators who have helped in sha-
ping Velasco this stage, from idea
to final work.
These are: Mar Dominguez, Andrea
Gussi, Regina Quesada, Juan Car-
los Rosa Casasola, Lord Cifrián
(Esther Lord and Carmen Cifrián),
Nikita and Daniel Vilar Solovykh Gri-
jalva.
In the exhibition catalog Velasco
explains that "considerations of ma-
terials and structures potential to
bring to fruition a project, have now
broken for these premises, making
'the team', even occupying a signi-
ficant and discrete background on
many occasions, has an importan-
ce in what is ultimately the artistic
experience. "
The exhibition will be in the cockpit
until the end of October, when tra-
vel to Miami, with the cooperation
of the Cultural Center of Spain in
Miami.
Biographical
Javier Velasco (Cádiz, 1963) began
his career exhibition in 1993 in Sevi-
lle.
Over the years his prolific output
has led him to make more than a
hundred samples of many Spanish
cities, and shows his work in various
projects around the world and the
U.S., Mexico, Japan or Germany.
In addition there are numerous pu-
blic and private institutions within
and outside Spain those with his
work.
In Valencia and in the exhibition
program of the Consortium of Mu-
seums has been part of several
group exhibitions, most recently in
the collection "Art and health" of
DKV has been seen this year at the
Centro del Carmen. Also present at
Valencia '100% 'in 2010 and' Pere-
grinatio 'in its 2007 edition.
MAVA is exposed in his book "Body
of Glass".
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Page 7
Line of research: Inclusions (V).
Estefanía Sanz Lobo.
Failure to do so, we would risk
creating large bubbles around
the chips.
There is another procedure to
prevent air pockets, is to make a
pre-cooking of chips on the
glass base, we must raise the
temperature until the complete
fusion (the merger raised or ter-
mocollage not prevent air en-
trainment, as that the shape of
the chips is maintained).
However, for the creation of in-
ternal volume this procedure is
not very suitable, because the
forms created with the fries less
clear.
On the other hand, is more ex-
pensive in time and power.
The test of Fig 1 is made by the
process of a single firing, surroun-
ding the chips (in this case the
house Bohle, yellow and red-
grained 1, the darkest gradation
are Violet 3, moreover, in the
center colored area is transpa-
rent ground glass).
The effect produced is of a glass
enclosed area under a transpa-
rent layer; can see its thickness.
In Figure 2, clear glass surroun-
ded himself with a form created
with fried green and blue mixed
with green mica.
The effect is very different if the
surface (top) or under glass
(below).
Note the sharpness of the crea-
ted form.
Fig 4 is formed by a sandwich of
three glass having a thickness of
3 mm each. The glass in the in-
termediate layer have been cut
to create the form of a thick li-
ne, which is then filled with crus-
hed glass frits and transparent.
To increase the sense of depth,
has been in the red enamel
glass surface (enamel for third
fire - overglass-ceramic).
Factors favoring the perception
of depth when using frits and
glazes.
Experimentation has led to the
conclusion that they are mainly
three ways of working that in-
crease the sense of depth and
internal volume of the works.
• Several layers.
The more layers of glass have
the work, the greater the chan-
ce of introducing forms at diffe-
rent levels, I mentioned that
each form serves as a spatial re-
ference for others.
Moreover, one should not forget
that the workpiece surface by i
tself constitutes a layer, and can
be worked in many different
ways.
• Sharpness of forms.
When cutting and delimiting with
transparent glass areas in which
chips will color or glass powder is
easier to perceive the thickness
thereof and also favors the per-
ception of various forms in diffe-
rent superposed layers of glass.
When working with thick chips,
as mentioned above, it is neces-
sary to surround with clear glass
of the same thickness, facilitating
the delineation of forms, but this
clearly is not as easy to achieve
when we work with stained glass
grinding or between two glass
enamels, especially if we sprinkle
to prevent the formation of
marks (brushstrokes, waste re-
sources, etc..).
In this case may be useful tem-
plates using cardboard to pro-
tect certain areas of transparent
glass to act as reserves.
If it is desired to create a sense of
depth unbounded forms, most
bubbles occur when fired ena-
mels between glass also serve as
spatial reference elements when
they are in different layers of
glass.
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Page 8
Activities in Museums I.
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Activities in Museums II.
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Activities in Museums III.
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Page 11
Conference on natural glass.
On May 22 we attended the Ge-
mological Institute Españos the
conference "Glass, the poor rela-
tions of gemology" given by profes-
sor D. Luis M. Zapatero Ramos.
Doctor of Pharmacy, University Lec-
turer, Diploma in Gemology from
the Autonomous University of Ma-
drid.
According to views obtained of ve-
ry introduced in gemology, Profes-
sor Shoemaker is number one in our
country in his specialty.
He began his lecture by a defini-
tion of the glass and its differences
with the glass, its composition and
that many variations exist glass.
The glasses can be classified into
natural and artificial.
The natives may be volcanic im-
pactitas, tektites, fulgurites, lunar
and meteoric.
Within the main exponent we vol-
canic obsidian.
Obsidian is caused by rapid coo-
ling of magma acid. Boomed in
the years 1200 to. C. and its main
fields are in Mexico, Guatemala
and Ecuador.
Obsidian was widely used by pre-
Columbian civilizations. Especially
for domestic purposes, warriors, or-
namental, ritual, surgical and me-
dical.
This natural glass comes in several
colors: Brown-gray, black with whi-
te spots, red uniform, red and
black, iridescent, brown, gray and
transparent.
Its hardness is 5 Ohms scale.
Other natural glasses are:
Perlite: granular structure. It is pri-
marily used in the construction sec-
tor.
Pele's hair: thin threads of volcanic
glass to 2 m. long.
Pele Tears: spheres or drops.
Pele Ooze: thin sheets.
Other natural glasses are caused
by meteorite impacts.
Some impact craters originated
have been measured 480 km in
diameter.
These glasses can be classified into
the following groups:
Impactitas: caused by melting of
rocks where the meteorite fell.
Tektites: are caused by the spray
produced by the impact. Some
spatters can leave the atmosphere
and fall back on Earth.
There were several theories about
the origin of tektites: impacts on the
moon, lunar volcanism, volcanic
glass, artificial human source, etc..
But it has been concluded that
splashing is meteorites impacts.
The distance that tektites are found
regarding the impact is due to the
rate of fall of the meteorite.
The shapes of tektites are very di-
verse. The main ones are: banded,
solidified spatter, ablated, microtek-
tites.
They have a high component of
SiO2 and its color is variable.
The ivoritas are a type of tektites
have been found in Ivory Coast.
The tektites have been found, main-
ly in Australasia, Cambodia, Ameri-
ca, Czech Republic, Slovakia, Mol-
dova and Germany.
The Urengoitas are other types of
tektites have been found in nort-
hern Siberia.
The granular fulgurites are tubes
that are produced by lightning in
siliceous sandy soils.
In short, it was a very educational
conference that the teacher knew
Zapatero convey in simple langua-
ge and we took a very definite ide-
as, especially the world of natural
glass.
We are very grateful to Professor
Shoemaker and his teachings, as
we met him at the end of his talk,
come to the MAVA to carry out a
full tour of the exhibition.
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Activities on the MAVA. Space 0.
From June 22, 2012 to October 22,
2012.
The MAVA an open call for submis-
sion of projects where they are pro-
posing a facility, consisting in whole
or in part by glass, to be placed in
the skylight of the building of MA-
VA.
The details of space, description
and measurements are as follows:
Description of Space 0
The visitor enters the building
through the lobby, a space is top-
ped by a skylight that provides
light, organized access to the va-
rious rooms and shows a triple
height space.
It tear the stairs leading to the up-
per floors and basement, is a
straight shot blasted with wooden
handrail, that links all heights.
Behind it opens a large window
that covers the lobby and first floor.
Upper floors and basement of the
Museum
A railing circular, in the first and se-
cond floor, allow to observe the
installation from different heights,
offering a unique vision and appro-
ach to providing opportunities in
the exhibition.
The first floor is the largest and cle-
ar, only interrupted by pillars, ligh-
ted by windows overlooking the
street.
The second floor, under cover, re-
ceives light from the skylight that
crowns the lobby and allows over-
head view of it. It has a central ex-
hibition of emerging on either side
aisles distributing various offices.
Space 0
Located in the skylight, but travels
through the building, the work has
to be at the height of the plant 0
(hall), it may invade the former.
Mounting
The assembly can be done in the
basement and upload it to the de-
sired height by a set of pulleys,
which are installed on the second
floor.
The rail allows anchors, with a maxi-
mum load of 150 kg.
Light
We have three sources of natural
light: a zenith skylight on the second
floor, another front of the main en-
trance and a third located behind
the stairs, consisting of a large win-
dow.
Make a selection of the most inte-
resting and establish a schedule of
exhibitions.
Each installation will be exhibited
three months.
Send submissions by mail ma-
[email protected] and if in
doubt, call 911127635.
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More about "The Trinity".
The public platform "Save the Glass
Factory Trinity", interested in the
conservation of this industrial site
located in Miraflores Avenue, Sevi-
lle, has criticized the demolition
"behind everyone's back" of various
plants belonging to the set, which
be carried out without specialized
monitoring and technical advice
on heritage.
Platform spokesman and chairman
of the Workers' Retirement Historical
Association (AHRO), Basilio Moreno,
explained that, in addition, the
company responsible for the de-
molition "dismantled and taken at
will" part of that heritage for more
than one century there was kept,
specifying in factory machinery
and disassembly of the scale of en-
try,
"Dating from the early twentieth
century, with a piece of industrial
archeology of significant value."
Moreno lamented that, after the
agreements and commitments ex-
pressed by the protection of the
government regarding the protec-
tion of heritage values and draft a
master plan approach to realize
the civic center, the School Works-
hop and Museum Glass Factory of
the Trinity, is carrying out an opera-
tion authorized by the Planning De-
partment "which has not been re-
ported or the public platform or
the Department of Culture of Sevi-
lle."
"We also believe that the law is
abused, as these demolitions should
be inserted in a new land subdivi-
sion of land, in a timely reform of
the General Plan of Urban Planning
(General Plan), to legalize urbanisti-
cally agreements, mandatory, the
Plenary municipal March 18, 2011,
and a project to be approved by
the Provincial Heritage Commission
requirements, ethical, legal, proper-
ty and legal have not yet been pro-
duced, "he underlined.
The spokesman of the platform has
been questioned "what asset pro-
tection is making the city of Seville
from the Planning Department and
from the Culture" and the role of
"guarantor of legality
'Compensation Board and "Who lo-
oks after the industrial heritage of
the Glass Factory, which is munici-
pally owned, ie, all of Seville."
Finally, Moreno refers to "numerous
irregularities" such as those relating
to treatment and classification of
debris produced there, "they are
not being removed as the law to
approved landfills that are being
used to consolidate parking ", so-
mething which, as confirmed to Eu-
ropa Press municipal sources, would
not be rushing.
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The glass in the Museo del Prado.
Throughout its long history, glass
has combined the functionality for
many applications in common use
with their valuable contribution to
scientific development and its im-
portant role as a material for artistic
creation.
No other means of information bet-
ter than the painting can provide
documentary evidence as true of
the abundant and diverse presen-
ce of glass in the daily life of every
age.
A loyalty binds the pleasure of artis-
tic contemplation. So follow the
tracks left by the glass painting is a
fascinating task that becomes a
privilege when you have the op-
portunity to enter the collection of
the Prado Museum to find, among
the more than eight thousand pic-
tures that make up part of its artis-
tic treasures, various glass objects
represented in them.
This study has cataloged and classi-
fied typologically into three levels,
and to describe its characteristics,
its historical evolution and geograp-
hical distribution.
With the reading of this work goes a
way in which the guide star is the
glass under the various faces of
bottles, glasses, windows, mirrors,
optical instruments, laboratory ob-
jects, etc. .. that is present in the ta-
bles.
Sometimes these pieces are one of
the main reasons of the box, as in
many taverns in other contribute to
the decoration of the scene or part
of it as architectural elements, like
windows and glass doors.
But if the cataloging and indexing
of the tables contain the value of a
patient and painstaking work, the
special attraction for the reader lies
in the magnificent reproductions of
those works in which glass objects
play a major role or provide a sam-
ple particularly illustrative of its most
remarkable peculiarities.
Along the long hundred paintings
of the Prado Museum selected for
inclusion in this book contains a par-
ticularly representative twenty pain-
tings, kept in other museums.
It also includes images of original
glass pieces, belonging to different
museums and private collections
that serve as reference for some of
the ones in the pictures.
The authors, two eminent authorities
in the world of glass: D. José María
Fernández Navarro and D. Capel
Francisco del Aguila.
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Page 15
Glass techniques. Color palette (XIV).
Estefanía Sanz Lobo
The test of Figure 1 was made by
inserting between two sheets of
glass enamels painted with various
binders.
The result is something internal tone
dirty and opaque. You lose part of
transparency.
The experimental work of Figure 2
has been performed with different
nail types, dry sieved, and some
inclusions.
The cloudy veil that had glazed
sandwich parts with a brush is go-
ne.
The major difficulty of this mode of
arranging the enamels is the grain
size thereof.
If too ground, pass with difficulty
through the sieve mesh, embotán-
dolo, and fall onto the glass heavily
forming lumps.
This problem is more evident with
opaque glazes.
The problem is solved in part when
mixed with the enamel too milled
grain another slightly thicker, thus
more slips through the mesh of the
sieve.
• Textures and graphics
Can be created in several ways.
One of them consists in placing a
uniform layer of glaze on the glass
surface, using a suitable medium.
Once dry, before cooking, do graf-
fiti, scratching, etc..
Another possibility is to influence
and scratch the glass surface and
create incisions and lines are then
filled with enamel, then baked.
You can also use application tech-
niques that create texture glazes,
using sponges, crumpled papers,
and other pictorial procedures.
In this case, naturally, it is prefera-
ble that the enamel is dissolved in
an appropriate medium.
Serigraphy
Using enamels instead of traditio-
nal paint etching, this technique
can be performed on glass.
Once the screen has been built,
you can create the pattern:
• using a brush, using a liquid for
blocking certain parts of the scre-
en
• With commercial material, a film
that can be cut as desired.
• With fotoserigrafía system using a
halftone film to separate the pho-
tographic image.
The colors should be dried and ba-
ked one by one.
To bake several at once complex
equipment is required.
Other photographic and printing
techniques on glass can be used
other procedures provided that
the special glazes used are glass,
so that after firing the image per-
manent.
Frit Painting or light painting
Some of the artistic work procedu-
res chips have already been des-
cribed in speaking of the
incompatibilities, defects and color
changes of these materials.
It is a technique that links the use of
various procedures and materials
for glass fusing, flat glass colored as
compatible, frits, glazes, rods or
stringers ... These pieces are distribu-
ted on a transparent glass sheet
and fuse together to obtain paints.
This technique is complex and re-
quires intimate knowledge of the
world of glass. It is necessary to ma-
ny batches with the same piece
before reaching the desired effect.
They can be fried on flat glass co-
lors extending them as the desired
pattern, or placed directly on cera-
mic paper.
Together with rods, sheets and coa-
tings, can be sandwiched between
transparent glass before melting.
3 is a picture of Narcissus Quagliata,
"Unknown at Sea, 1995." Light pain-
ting with molten glass.
• Creation of internal volumes.
Using frits and glazes between la-
yers of glass may create feelings of
deep and internal volume.
This issue is addressed in section
III.2.4.4 inorganic inclusions. Mate-
rials and vitreous enamels.
This piece utilizes several techni-
ques: painted enamel on several
superimposed layers of glass, and
inclusions of gold leaf, silver leaf fal-
se and fiberglass.
With this overlap is achieved an ef-
fect of depth or internal volume.
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Page 16
N E W S (I).
Culture 2012.
Visit the School of Mines.
formation of natural glasses, who-
se idea was very clear and very
recently we had our assistance to
the excellent lecture he gave at
this same school a few days ago
the scientist D. Luis Zapatero Ra-
mos. (See page 11)
Then we visited the excellent
school library, the chapel, where
we saw some beautiful stained
glass windows signed by Maume-
jean, the beautiful auditorium
with excellent glass of the same
firm cited above and other units
of the School.
From these pages we give our
warmest thanks to our good
friend Enrique Marcos Alonso for
providing us the pleasure of visi-
ting this iconic institution.
You can see a comprehensive
report of this visit through this link.
Last June we visited the excellent
exhibition that the Museo del Prado
spent the last stage of the painter
Raphael and his two assistants high-
lights, Giulio Romano and Gianfran-
cesco Penni.
The exhibition is mounted in several
areas: altarpieces, sacred virgins
and big families, small families and
holy virgins, Giulio Romano and Por-
traits.
Complete this shows the painting
"The Transfiguration" in room 49 of
the Museum. It is a copy painted by
Giulio Romano and Penni and also
includes preparatory drawings by
Raphael and is discussed in depth
their creative process.
The original painted by Raphael
was commissioned by Pope Cle-
ment VII for the cathedral of Nar-
bonne and is, after many vicissitu-
des, in the Vatican Museums.
Organized in collaboration with the
Louvre Museum, which will host the
exhibition as a second home, the
exhibition offers a journey through
more than seventy works, forty
paintings and thirty drawings, which
are presented in a chronological
journey through the activity of the
master Urbino his last seven years,
since the beginning of the pontifi-
cate of Leo X (1513) until his death
in 1520.
The selection includes works expo-
sed as famous as the altar painting
of St. Cecilia (Bologna, Pinacoteca
Nazionale) or the portrait of Baldas-
sare Castiglione, the Louvre.
It also highlights the broad repre-
sentation of major works of his disci-
ples, Giulio Romano (c. 1499-1546),
who was the assistant Rafael most
talented, and Giovanni Francesco
Penni (1488-1528), who, under the
strict control of Rafael, participated
actively in the workshop last orders.
In Giulio Romano devotes an exclu-
sive exposure and in which the
works are free from the tutelage of
master, developing trends of its aut-
hor in such ambitious works as
"Stoning of St. Stephen."
It also highlights his paintings that
the Museum of Prado retains its ma-
ture stage, including the large table
is transferred to canvas "the shock
of Sicily" (1515-1516), shown in the
sample for the first time after its res-
toration.
On June 14 a group of Friends of
MAVA were visiting the School of
Mining Engineers of Madrid.
One of the fellows of the institution
made us an excellent tour of the
various departments of the institu-
tion.
We started the visit by the Mining
Museum, where we see an extraor-
dinary collection of minerals.
For our part, we work on increasing
the cultural knowledge of our guide
making a description of the
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Page 17
N E W S (II).
the month of September and ever-
yone will see in the Museum's per-
manent collection.
For anyone who wants to see a lit-
tle of the process, the restoration
will take place the weeks of 17 to
20 and from 24 to 26 July in time
from 17:00 to 19:00 h.
We hope this information is of inter-
est and have their gracious pre-
sence.
Best regards.
The Management.
Restoration of "The Annunciation”.
Small glass gems were performed
using the technique of overlapping
layers, a relatively sophisticated
method in which successive layers
applied Roman artisans glass, and
between which often interspersed
gold leaf, which gave the golden
color.
"This is one of the most ancient la-
yers of glass found in Japan, is a ve-
ry rare accessory that is believed to
be made in the Roman Empire and
later came to Japan," said Tomomi
Tamura, a researcher at the institu-
te.
Perhaps the jewel came to Japan
through a Chinese or Vietnamese
trader who did have contact with
embassies and Roman traders.
Or maybe it was transported to the
islands by a Japanese traveler re-
turning from the continent …
The truth is that this new finding
opens new avenues of research on
the influence of the Roman Empire
in Asia.
The researchers will now focus on
trying to find out how the little gem
of glass made the long road that
separates Rome from Japan, about
ten thousand miles ...
Glass in a grave in Japan.
For anyone who wants to see a little
of the process, the restoration will
take place the weeks of 17 to 20
and from 24 to 26 July in time from
17:00 to 19:00 h.
The Museum of Glass and Glass Ma-
laga informs us that:
Dear friends.
We are pleased that during the se-
cond half of next July will be carried
out in the courtyard of the Museum,
the restoration of part of the new
window "The Annunciation" by
Charles Eamer Kempe, and that in
Archaeologists find objects in a
tomb Roman Empire of Japan.
The recent discovery of remains of
Roman origin in V century tomb ne-
ar Kyoto in Nagaoka, Japan, opens
new avenues of research on the
scope of cultural exchanges bet-
ween the giant West and Asia.
These various glass beads, accor-
ding to researchers at the Nara Ins-
titute could be dated between the
first century and the fourth century
AD.
The glass jewelry have been disco-
vered in the tomb 'Utsukushi' fifth-
century.
Tests conducted by the experts
have established that it is glass be-
ads of about five millimeters in dia-
meter, joined by small pieces of
gold.
The beads are made with natron, a
chemical used by the artisans of
the Roman Empire between 27 BC
and the fall of Constantinople in
1453.
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Page 18
The glass in Museums: Hsinchu.
The Hsinchu Glass Museum is loca-
ted in northwest Hsinchu Park in Tai-
wan, and was officially opened on
December 18, 1999.
The Glass Museum was rebuilt from
the Autonomous Club House, built
in 1936 for the use of accommoda-
tion and celebrations where the
Japanese royal family and govern-
ment officials came to Taiwan to
make their visits.
A home atmosphere pervades
both recreational garden space
outside and inside the building,
much more adapted to the exqui-
site and delicate features of the
craft of glass.
Direct the work of reconstruction
and visualization of the Club House
Autonomous planning was entrus-
ted to architect entire Tieh Chi-Nan
Kuo and Professor Chen-Ning.
The museum has retained the Euro-
pean style of modern architecture
through oriental bricks at the foot
of the southeast corner of the buil-
ding and the classic image of the
lobby.
After combining different needs of
users of diversification into the mu-
seum as the length and analysis of
the five functions of the museum
service (administration, exhibition,
collection, learning, education
and public service) and the latitu-
de and environmental condition of
the museum, was established in
accordance with them.
Creating Glass Museum seeks a
combination of cultural resources
and tourism to help the promotion
of Hsinchu glass industry and let the
public and businesses to participate
and understand the exploration
and application of industry Hsinchu
glass.
In addition to displaying glassware,
the museum shop also promotes
active learning.
The public can go there, playing
and creating their own works, as
well as visual assessment and get
other amazing experiences,
brought by the glass creations.
The arrangement of initial building
of the museum was as follows:
The first floor contained a lobby, of-
fice, meeting room, a billiard room,
a toilet, a kitchen and dining room.
The second floor consisted of a
bathroom, dining room, four decks
of Japanese-style tatami and seve-
ral rooms.
After being restored as the Crafts
Museum Chuchian glass, the first
floor contains an exhibition room,
an audiovisual room / conference
and a meeting room.
The second floor houses a perma-
nent exhibition area, a glass bridge
and a room for the collection.
The building, originally used for the
reception and entertainment of the
guests, now has become a space
for the display of local art.
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The Treaty of Guadalupe Monastery Windows (III).
Fernando Cortes Pizarro.
One consequence of this situation
discussed is the fact that throug-
hout the manuscript is transmitted
in all operations and processes des-
cribed an apparent willingness of
austerity, efficiency and economy.
This aspect is reflected when the
author teaches us different ways to
save materials and care of both of
these as tools, given its high price
and difficulty of supplying with ti-
me, or when he insists on not dis-
card waste materials that could re-
turn for use later, or recommended
building stained glass designs glass
fragments.
In this sense, when referring to abo-
ve basic necessities, we must not
forget that the type of glass from
those discussed in this treaty are
not decorative or ornamental glass
large-in fact there are no stained
glass and paintings cooked, but
rather the so-called "white glass"
typical of the time.
This type of glass, composed only
of colorless glass and lead profiles
forming simple geometric patterns
and that both were popular from
the second half of the sixteenth
century until the late eighteenth
century, are implemented more
quickly and therefore much chea-
per than bearing figures and colo-
red glass and are also markedly
functional.
Regarding the use of paints coo-
ked, either to represent or orna-
mental figures in the manuscript no
mention is made to this topic.
I am of the opinion that, rather
than ignorance, the author ignores
this issue since the monastery was
traditionally preferred the geome-
tric windows and simple white,
much more austere and economi-
cal compared with the colors and
figures painted and baked in the
oven.
It is also necessary to further clarifi-
cation regarding the use of the
word "bedriera" or "window" as is
mentioned by the author in the
manuscript.
At present and in most cases, the
term "window" often refers to a ty-
pe of closure of a window compo-
sed of several panels or panels,
which are often divided among
themselves by some kind of racks.
These individual panels could even-
tually constitute in themselves a
small window, while not usual, so
the window-type spoken in the text
would be truly individual panels of
geometric modular repetitive, de-
signed to form part of a larger com-
position.
In this sense, most of the drawings
of panels that appear in the text
are rectangular in shape and have
very similar measures, which if mo-
ved to a scale that would give pa-
nels range between 70cm wide x
83cm high, this is relatively common
measures for most of the panels of
the time and not a window.
10 In a few other concrete panels
are square, being its measuring ap-
proximately 40 or 50 cm per side.
Thus, although the author does not
mention it, it is likely that most of the
windows of the monastery were lar-
ger than that of these panels and
therefore need several of them to
close each span.
Read commented on the various
aspects of the treaty
As we saw in recent years there
have been several studies on the
Treaty of Guadalupe approached
from different perspectives (see bi-
bliography), so it is not the intention
of this article insist on matters alrea-
dy dealt with elsewhere.
The type of reading that would ma-
ke the manuscript is focused mainly
in the commentary, from the pers-
pective of a glazier-restorer present
the technical aspects of the trade
and craft of glass making, reflected
by its author and so abundant and
important in each chapter the ma-
nuscript.
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Page 20
Recycling. Pilot project in Turkey.
The European Bank for Reconstruc-
tion and Development (EBRD) has
made public the announcement
of the expressions of interest from
glass recycling project in Turkey.
The total project is 250,000 euros
and will be funded through the
ICEX Fund Consulting.
The project consists of three main
elements, first market research of
existing infrastructure and policies
in reference to glass recycling,
technical assistance for creation of
a pilot project for recycling of glass
as well as the development of a
medium-term program manage-
ment of recycled glass in Turkey.
It is anticipated that the assign-
ment will last for ten months with
the possibility of extension accor-
ding to the project development
and emerging needs.
It is intended for Spanish consulting
firms, however, 30% of funds be
allocated for experts from other na-
tionalities.
Eligible businesses must provide ex-
perience in waste management
and particularly in glass recycling.
They shall have operational expe-
rience in glass management pro-
grams in Eastern Europe or at least
one of the countries where the
EBRD is present.
The project will have a significant
potential impact on the country
due to economic and environmen-
tal benefits that recycling is glass.
Is a material that is recycled in an
approximately 100%, and which is
recycled after the treatment a sig-
nificant savings in costs, such as re-
ducing the energy required for mel-
ting the glass and increased pro-
cess efficiency due to the reduction
in the amount of material needed
for production.
As a result, the production of glass
recycled through a reduction in
carbon 5%.
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Page 21
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 2012.
Cultural Tours.
Culture 2012 Programme.
In this July will return to the Prado
Museum to see the exhibition of
works by Murillo.
Exposure Murillo and Justino de
Neve. The art of friendship meets
a set of seventeen artist's later
works, from museum collections
in London, Paris, Houston,
Madrid and Seville, among other
cities, from his relationship with
Don Justino de Neve, canon of
the Cathedral of Seville and im-
portant patron and friend of the
artist.
All the pictures shown is an ex-
cellent example of some of the
most important artistic projects
undertaken in Seville in this pe-
riod, which introduces the vie-
wer squarely in the Baroque
heart of Seville and its fusion of
art, religion and culture .
In addition to works from the pri-
vate collection of Justino de Ne-
ve, others were commissioned
for the church of Santa Maria
Seville White (whose reconstruc-
tion was overseen by him), the
Cathedral and the Hospital of
the Venerable Priests, clerics ins-
titution for the canon had hel-
ped to found.
Neve is revealed in this sample
as a patron of some of the most
outstanding and original painter
from Seville, as the four large lu-
nettes of the Foundation of San-
ta Maria Maggiore, three of
them restored for the occasion,
and the Immaculate Concep-
tion of the Venerable (also
known as the Immaculate
"Soult") of the Prado Museum,
which is displayed with its origi-
nal frame which is currently de-
posited at the headquarters of
Focus-Abengoa Foundation.
Also shown are the allegories of
Spring (The Flower), restored for
the exhibition, and Summer
(Young man with a basket of
fruit), the Dulwich Picture Gallery
and the National Gallery of Sco-
tland, respectively, and some
paintings refinadísimas religious
themes on obsidian from the
Louvre Museum and the Hous-
ton Museum of Fine Arts (Rienzi).
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good book, good exposure, .......
We had a lot of time waiting for the
book's authors could find sufficient
funding for editing.
One of them, Paco Capel, and infor-
med us of the painstaking work they
had carried out the teacher and he
Fernández Navarro, and the number
of hours that were spent in the mu-
seum carefully analyzing each of the
tables that were detected the exis-
tence of a glass object.
When we have our hands on this
long awaited book, we'll go to the
Prado Museum and go walking
those pictures that have a specific
mention in the text, in order to get
a taste of the object visually in
each case is noted and analyzing
the context the table that appe-
ars.
We imagine that we can not do it
all "a jerk", but we will little by little,
that if we can use such a simile, it
is best savored like fine wine, a
Page 22
Framework agreement.
The University of Navarra and Guar-
dian, a leading producer of flat
glass in the world, have signed a
collaboration agreement.
The agreement provides for the
holding of an international seminar
on building solutions with glass.
The School of Architecture at the
University of Navarra and Guardian
Glass have signed a collaboration
agreement.
The agreement was signed by Je-
an Luc Morabito, president of
Guardian Glass Spain and Portu-
gal, and Mariano Gonzalez Presen-
cio, director of the School of Archi-
tecture.
The agreement provides for the
holding of an international seminar
on building solutions with glass.
Also, enhance research and trai-
ning of students and graduates in
the use of this material in construc-
tion.
This collaboration is in addition to
sponsoring five scholarships for the
conference 'The Common', organi-
zed late last June, the Architecture
Foundation and Society, and Guar-
dian offered five students of the
School of Architecture at the Univer-
sity of Navarra, and the talks 'Glass,
reflections' that experts have been
conducting Guardian on campus in
Pamplona.
Founded in Detroit in 1932, Guardian
Industries focuses its activities on the
manufacture and processing of glass
for construction, automotive and fur-
niture in plastic injection for automo-
tive and fiberglass construction.
Present in the four major continents
and nearly 20,000 employees, Guar-
dian has become the third largest
producer of flat glass in the world.
In Spain, Guardian has two produc-
tion facilities and processing of glass,
a plastic injection factory to the car,
a national network of shops automo-
tive replacement of windows and a
network of warehouses for distribu-
tion and marketing of their products.
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Guarataro Children Foundation.
which is located in the Royal Glass
Factory at La Granja in Segovia,
Spain.
With an average age of 15 years,
the boys will take four years to gra-
duate with a degree in Spanish insti-
tution.
Another part of the value comes
from the quality of learning materials
imported to work.
The rest is pure talent and work.
As a school created to give them a
real way out of poverty and social
anonymity to the youth of the villa-
ge, there is no commercial produc-
tion workshop.
What students make academic gui-
delines are Spanish teachers who
come regularly every year to teach.
Are these tasks and assignments that
have begun to sell in El Progreso, San
Pedro Sula and Copan Ruinas.
It should be noted that there is no
one similar school in Central Ameri-
ca.
Youth learn to create wonderful pie-
ces of glass using only the finest ma-
terials imported from USA and Euro-
pe, particularly the precious Murano
glass.
Of course, progress has remained
oblivious to the work of the founda-
tion.
Leading doctors, accountants, ar-
tists, local authorities, private compa-
nies and other voluntary agencies
cooperate constantly with Guarata-
ro Children.
Where admire accessories
The House Project Day at Arena
Blanca has a small shop where visi-
tors can see and buy pieces of glass
that children produce.
This is a way to join the cause.
You can also cooperate by making
a donation for the Children Founda-
tion Guarataro, depositing their co-
llaboration in the account of Banco
Ficohsa 0401-09795.
Education for development
For the Children Foundation Guara-
taro education is considered as the
primary means of integration in so-
ciety and as a vehicle for community
development to which individuals
belong, and out of the poverty in
which they find themselves.
Through scholarships is completely
covered the cost of educating chil-
dren, whether studying in private
and public (transport, uniforms, sho-
es, school supplies, tuition, etc..).
"Guarataro Children Foundation."
This foundation has two "Houses of
day," one in Arena Blanca and
another in the Honduran village of
Buenos Aires South cashews, where
about 190 children two and older
receive education, food and sani-
tation facilities.
Also, mothers of boys are integra-
ted into activities of these homes to
get involved and more engaged in
the project and grow as indivi-
duals, learning to cook, manage
and be objects of change for their
community.
Glass school
The other major component of the
foundation is a School-Workshop
on Learning and Work of Glass to
provide new job opportunities for
young people and parents belon-
ging to the project.
The work of the craft-workshop en-
ded in October 2009 and the first
phase of classes began in Novem-
ber of that year.
These courses are being offered
through the collaboration of the
National Glass Centre of La Granja,
Segovia, and are funded by the
Foundation nacre, Switzerland.
In this school the older kids (up to
22 years) learn to make all kinds of
accessories of glass and stained
glass and jewelry and the Founda-
tion aims to within a few years Are-
na Blanca has become a village of
artisans, where domestic and fo-
reign tourists can get to buy glass
items made by experts, by real ar-
tists.
These pieces were carved in cold.
The quality of finish showcases the
talents of the boys and is the result
of the great training they receive.
In this regard, notes that children
are taught by master carvers who
come from the Royal Glass Factory
in Spain, who teach the processes
in hot and cold working glass.
Note that as this is a handcrafted,
each piece of glass that is made is
unique.
In addition, some of the accesso-
ries made under the Tiffany techni-
que or three dimensions, are made
with Murano glass, brought from
Italy, which guarantees the quality
of the jewel.
"Next year will graduate its first class
of artisans, which excites us becau-
se it will be the culmination of an
achievement that has required the
collaboration of many people.
Training workshops
Next to the collective training of
young people, offer the opportuni-
ty to learn a trade.
Thanks to the agreement with foun-
dations nacre (which funds) and
the National Glass Centre
(providing teacher and technical
means), over 2009 have been built
within the precincts of the House of
Day 2 of the village of White Sand ,
a ship which houses the School-
Workshop, where young people
learn to work in a variety of techni-
ques with glass, allowing them in
the not too distant future, produce
and market these products and
pass on their knowledge to others.
Glass work of great value
Part of the value of parts and ac-
cessories that make the young
people of school-glass workshop
comes from the extraordinary tea-
chers who teach.
Young people are trained by the
National Glass Centre Foundation,
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The film features the art of glassmaking in Venice.
"Pearls of return"
The film manages to define the
horizons of contemporary society,
emphasizing the curious, authentic
expressions of everyday decisions.
Immigration is a point of view of the
film company, well integrated into
Italian, where ethnic groups can
have a meeting and discover a
mutual cultural wealth.
It is a sign of the demographic re-
volution, which for several years, is
the undisputed bastion of integra-
tion of immigrants. The film accura-
tely represents several films.
Often encounters situations where
the interests pleasant, artistic and
cultural, are a welcome response
to a person of different ethnic ori-
gin.
The story is emblematic of Moulaye
became the first Senegalese immi-
grant perlière in Venice, tells this
passion, with the help of cinema,
the film "The pearls of return."
Moulaye arrives in Venice as a tou-
rist. The love of glass art, refers to
the confidence and passion, one
of the closed environments of Italy,
the masters of Murano, the island
of fire.
This is a new journey to a place of
drama and art in danger of disap-
pearing, carried out through the
eyes of those who can not go
home because we can return
home only if we have something in
hand.
But in a country where the different
color of skin is a systematic racist
where having black skin is equiva-
lent to being an illegal immigrant,
only the intention to sell the bags in
the street, is what happens when
we break the chain.
The answer to this difficult question
is very well explained in the film,
told with skill, which succeeds in
combining social knowledge and
narration.
"The first time I met Moulaye in your
store - said Mark Levy, MD, born
and raised in Venice - asked if I
wanted to learn to do their job.
Having family members who work
in Murano glass, accustomed from
infancy to the legendary discretion
surrounding the island, I smiled the
first time he was offered the oppor-
tunity to learn. From a new pearl,
strange, that works like no other,
combining traditional techniques in
Murano with African designs.
The tragic stories of immigration are
so many!
Describes a thousand ways the tra-
gedies of the route through our
borders.
Few talk about the trip that begins
after he arrived: the battle to get
the job you have chosen, the ne-
cessary passion to learn, the dream
of bringing something home, provi-
ded you return.
Moulaye follow the streets and ca-
nals of Venice offers a unique pers-
pective on the meeting with the
great masters of Murano, with its
art that is both his passion and his
way of life, with the story of an is-
land destined to die caught bet-
ween centuries-old fear of sharing
their knowledge and they can not
compete with Asian products.
The "Pearls of return" - concludes
Mark Levy MD - is a film about the
importance of learning, the respon-
sibility to offer the opportunity,
strength and determination nee-
ded to understand, and the tragic
consequences that result from a
missed opportunity.
The film manages to achieve a key
role when it comes to social mo-
ods, capturing the details of all ori-
ginal, well seasoned with the tones
targeted by the movie camera.
Be a good observer of reality, be-
cause cinema is a mirror of social
situations and often is overshado-
wed by everyday life.
The role of film with a clear focus
and quirky characterizations, ready
to tell a true story, able to unders-
tand better the integration of fo-
reigners.
Only the watchful eye of film can
reveal details not seen, because
you can not photograph the usual
aspects, perhaps hidden, hard to
put before the public.
The film has a key role as prying
eyes, can help understand the dif-
ferent facets of society, often igno-
red by people.
Mark Levy MD, Venetian doc, he
worked as assistant director of aut-
hors such as Spike Lee (Miracle at
St. Anna), Marc Forster (007: Quan-
tum of Solace), Chris Weitz (Twilight:
Eclipse), Lasse Hallström
(Casanova), Tony Gilroy (Duplicity),
Sofia Coppola (Somewhere), and
the Italian directors such as Giaco-
mo Battiato Gianluca Tavarelli, Gui-
do Chiesa.
He gained international experien-
ce on movie and advertising in the
U.S., England, France, Spain, South
Africa, Morocco.
Since 2006 lives in New York, where
he studied at NYU's Tisch School of
the Arts, and collaborated with di-
rector Tom McCarthy's "The Visitor -
The Visitor".
In 2011 produced the short film "A
Chjana", winner for Best Short Film
at the Venice Film Festival the sa-
me year and is currently in compe-
tition at SXSW and silver ribbon.
The "Pearls of return" is his first docu-
mentary.
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Other trends. Ripolles in China.
The artist most international Caste-
llon, John Ripollés, opened last Ju-
ne at the prestigious Beijing World
Art Museum in his first exhibition in
China, the first of a series of sam-
ples that will tour the Asian country
until June 2013.
Faced with huge host public, the
artist, who turns 80 years in Septem-
ber, has introduced 'lifetime' in this
work, 'Ripollés Universe', which
brings together a collection of over
80 works, including sculptures, prints
and paintings and are distributed
inside and outside the museum
grounds.
The cultural attache of the Spanish
embassy, Ignacio Morro, who parti-
cipated in the inauguration, said
that Ripollés is the first Spanish artist
to the World Art Museum devotes
extensive touring as a year and a
total of eight exhibitions throughout
the country.
"I had to wait until you have 80 ye-
ars to enjoy the shows most impor-
tant and beautiful of my life," says
the author, while recognizing in the
Asian giant "a stunning country, in
every way. I say that is a country
who sleeps with his eyes open, be-
cause its citizens off endless desire
to know everything around them
and show a keen interest in being
leaders in the world. "
In fact, Ripollés think your desire to
grow in every way contrasted with
"the mistake we make in Spain,
compared to investment in scien-
ce, research, culture, etc". "While
the Chinese, advanced economic,
begin to open to other cultures, we
are going in the opposite direction
in every way."
And, at this point, hardens his spe-
ech against the government, befo-
re the drama of the current Spa-
nish emigration. "The difference
between those who migrated in
the 50's and now is enormous. Be-
fore he left peonage labor, sen-
ding money to their families in
Spain. The tragedy now is that he
leaves a generation of scientists,
researchers and graduates that
cost us a lot of money for training
and to be productive in other
countries. What future forecast
then we have in our country? "he
notes.
The artist chides the lack of "spirit of
brotherhood" and "ignorance" of
successive rulers. "It lies too. We
wanted to believe that an econo-
mically strong country were prepa-
red to cushion the global crisis, but
the truth has come to light. We are
worse than others and above
'people do not' to pull the car for-
ward all combined. Rather, they
throw stones at the head and bla-
me each other, "he laments.
'Universe Ripollés'
The exhibition displays the Castellon
'Ripollés Universe', contains a large
collection of 83 works divided bet-
ween painting, printmaking and
sculpture in different formats, most
of them newly created.
The catalog consists of 32 sculptu-
res, 34 prints and 20 tables that are
appreciated most distinctive cha-
racteristic of the author.
The vitality of the images shown in
the graphic or sculptural work, and
above all, the use of color in multi-
ple combinations constitute his let-
ter in China, where his artistic lan-
guage enjoyed a warm reception
among the many attending the
premiere.
The museum's director, Feng
Guangsheng, compared with other
Ripollés concerning Spanish con-
temporary painting by Dali, Picasso,
Miro and referred to his work as "a
poem of color."
The exhibition will remain in Beijing
until mid-July, then travel to mu-
seums with which the World Art Mu-
seum has collaboration agree-
ments and have funded the pro-
ject. By traveling, paintings, sculptu-
res and prints already exhibited in
the capital city of the museums visi-
ted Jinan, Guangzhou, Wuhan,
Chengdu, Nanjing, Shanghai and
Hangzhou and is expected to close
in Hong Kong, although the latter
cites lack concrete.
One of the exhibits also will be inclu-
ded in 2013 in the calendar of offi-
cial events to commemorate the
40th anniversary of diplomatic rela-
tions between Spain and China, an
event that the Spanish embassy in
Beijing held with different economic
events, social and cultural.
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Casa Lis Museum in Bilbao.
Alfonso Fernandez Mañueco recei-
ved the Mayor of Bilbao, Iñaki Aku-
na, who gave a reproduction of
the jurisdiction of Salamanca and
a piece of blown glass that is part
of the collection "Milky Way" of the
Museo Casa Lis.
The Museum of Art Nouveau and
Art Deco Casa Lis will be promoted
in The Corn Exchange Bilbao, cultu-
ral and commercial center of the
municipality, which can be pur-
chased from the forthcoming self-
produced products already sold in
the museum shop Salamanca.
The mayor of Salamanca, Alfonso
Fernandez Mañueco, has given
the alderman of the city of Bilbao,
Iñaki Azkuna, who visited the Town
Hall, with reproduction of the juris-
diction of Salamanca and a piece
of blown glass, handmade is part
of the careful collection " Milky
Way "at the Museum of the Casa
Lis.
Following their meeting in the City
of Salamanca, Alfonso Fernandez
and Inaki Azkuna Mañueco visited
the exhibition hall of Santo Domin-
go "Traces de Unamuno," which
brings together 48 paintings
painted by the Basque artist Igna-
cio Ipiña in landscapes dominated
by Salamanca and Bilbao.
Alfonso Fernandez stressed that Iña-
ki Mañueco Azkuna is a lover of Sa-
lamanca and the figure and works
of Miguel de Unamuno.
He recalled that a man of his word
because, when the December 31
could not attend the annually pays
tribute to the writer and thinker Sa-
lamanca Bilbao, Azkuna already
announced that during the 2012
"Year of Unamuno", come to Sala-
manca.
"The thoughts and writings of Miguel
de Unamuno built bridges so strong
that today, 75 years after his death,
are joining his hometown, Bilbao,
and his adopted city, Salamanca,"
said Alfonso Fernandez Mañueco.
The mayor felt that this union bet-
ween Salamanca and Bilbao, is re-
flected also in the 48 paintings by
Ignacio Ipiña with "gray Bilbao and
Salamanca golden melted forever
the emotions of Don Miguel" with
familiar places to Unamuno and
Inaki Azkuna as Round Street, birth-
place of the philosopher, to Cross
Street, where he lived many years,
the Canton of the Seven Streets, Itu-
rribide, la Rua or the Puente de San
Antón.
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Corning Expansion.
The Corning Glass Museum has un-
veiled its plans for expansion at a
cost of $ U.S. 64 million, which when
completed, will make the museum
in the world's largest space dedica-
ted to presenting contemporary art
in glass.
Designed by New York architects
Thomas Phifer and Partners, the
project includes the creation of a
new north wing with bright galle-
ries, and one of the largest facilities
for live demonstrations of glass blo-
wing and glass.
The project is funded entirely
decided to take to relieve pressure
on the successful and visited the
original museum, which receives
400,000 visitors each year.
Phifer's design creates 26,000 squa-
re feet of space for a gallery full of
light bathed by making available
an optimal environment to appre-
ciate the works of art.
The design also includes the reno-
vation of the ventilation systems of
the "old glass factory" Steuben,
building adjacent to the existing
museum building.
The new north wing will have an in-
novative facade of white aluminum
and glass. Which will emerge sheets
perpendicular special ultra-thin
glass.
These materials are juxtaposed with
the black exterior of the building res-
tored, creating an interesting dialo-
gue between the two structures.
The project is slated for completion
by 2014.
The Corning Museum of Glass Glass
houses the world's largest, with more
than 45,000 objects reflecting 3,500
years of art and history of glass ma-
king.
The museum is dedicated to art, his-
tory, science, research and exhibi-
tion of glass.
Exhibits and activities are suitable for
all ages.
Better still to behold the miracle of
glass making is that you do it your-
self!
A forty-minute workshops offer visitors
of all ages the opportunity to make
their own souvenir glass.
Each project has a charge of $ 10.00
- $ 40.00 USD. Ask at the Information
Centre for tickets or additional infor-
mation.
We recommend booking tickets in
advance.
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Glass workshop in Murcia (XIII).
JIMENEZ PEDRO CASTILLO
JULIO NAVARRO PALAZÓN
JACQUES THIRIOT
On this preparation was applied
a rather rude mud plaster as a
finish. The mouth, disappeared in
its upper part, shows signs of
what would be an arched top
(Plate 25), was opened north-
ward to an ashtray just because
we documented was affected
by a posterior fossa.
We could not document any re-
mains of the upper chamber of
the grill nor, except the start of its
six fireplaces perimeter.
The function of this furnace, simi-
lar in form to those employed in
the potteries and completely dif-
ferent from the rest of the works-
hop, it is difficult to elucidate so
we propose two hypotheses:
1 st serve for heating ceramic
crucibles used to contain glass
frits.
2 nd that was intended to ac-
commodate the newly blown
glass pieces to cool gradually.
According to the first hypothesis
and taking into account the fo-
otprint of the furnace crucible 2
documented, would have 28 cm
diameter and a height approxi-
mately equal, it would be possi-
ble to cook at 35 crucibles,
arranged in heights of 5 7 cruci-
bles, however There are serious
objections which we shall dis-
cuss.
Defender pottery kiln function is
to accept that there must have
been Puxmarina facilities for the
preparation of the clay and ma-
king parts that have not found
any remains.
It would be logical to assume
that a large Madîna as Murcia, in
which there were many potte-
ries, be much cheaper to order
the pots to a ceramic workshop
to try to make them in the glass
workshop.
Regarding the second hypot-
hesis should be clarified that the
gradual cooling process is essen-
tial once blown glass pieces as
they break otherwise.
That is why the treaty of al-
Saqati hisba (Malaga, XIII centu-
ry) specifies that "prohibited on
glass to make the glass furnace
where it is cooling before he has
completed a day and a night.
This is because it will crack if you
withdraw before the deadline. "
This is reflected also in the Alp-
honsine codex known as the La-
pidary: "Stone is slightly melted in
the fire, when they drew et dell,
it seems to its substance.
But if you bring forth out soul
grew less than in poc poc is co-
ol, quiebrase ".
The cooling could be carried out
in separate furnaces or cham-
bers that took advantage of the
heat of the same melting furna-
ce where the glass adjacent to
the space where the crucibles
were placed or situated on it.
The latter type is documented in
a miniature manuscript Hraba-
nus Maurus (IX) from Monte Cas-
sino and a thumbnail of the
Cantigas Alfonsine.
The cooling chambers are na-
med Mahmas kawwara or glass
workshops in the traditional Arab
world.
In none of the excavated kilns
have found any remains that
might indicate the existence of
a cooling chamber disposed
horizontally with respect to the
core of the furnace, but can not
rule out the possibility that count
with upper chambers.
The center position of oven 5
may be another argument for its
use as annealing or cooling spa-
ce.
The oven of the square Belluga
The site that appeared is approxi-
mately 50 m east of Puxmarina
workshop on the corner of the
square with the street Belluga Po-
lo de Medina (Fig. 2).
The excellent state of preserva-
tion allows more safety study and
compare Puxmarina ovens.
It is an oblong plant structure is
practically oriented east-west, is 4
m long and 2.80 m wide and has
a height from the bottom of the
hearth of 1.25 m (Fig. 19, Fig. 26).
The interior is particularly well pre-
served almost all of its U-shaped
bench, which shows the traces of
the crucible (Plate 27).
On the bench was where the frit
codified, possibly colored,
around a central basin, rectan-
gular, which served to prepare
the primary glass, and that exten-
ded to the west by a moat, as an
appendix, was outside of its cir-
cular perimeter.
The outside of the oven, best pre-
served in the west, was built of
adobes (some reused from a pre-
vious issue), baked bricks, stones,
fragments of crucible and furna-
ce, with green vitrification, all
made with clay.
Bricks and bricks, whole or incom-
plete, are generally in radial posi-
tion, externally surrounded by a
ring of vertical bricks that protect
the lower part of the construc-
tion. The wall has a width that
ranges between 48 and 57 cm,
reaching even 70 cm wide near
the door of the stove.
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Mona Hatoum at the Miró Foundation.
At first glance the room looks emp-
ty. The work, an ethereal web of
glass beads, hanging from the cei-
ling add an organic touch to the
geometric space.
It's Web, recent acquisition of the
La Caixa Foundation, organizer
with the Miró Foundation, the ex-
hibition Mona Hatoum. Projection,
which is dedicated to Joan Miró
Prize, awarded in April.
"We did not start the tour with a
play too iconic and linked to the
geopolitical interpretation of an ar-
tist who has been typecast in too
many labels," explained Martina
Millà, curator of an exhibition that
"opens the semantic field of the ar-
tist and connects his language with
that of the vanguards of contem-
porary art. "
Is the case of wire cube, which re-
fers to Sol LeWitt and optical art
with suggestive visual effects, and
splash in glass sculptural Murano
(Italy), all a nod to David Hockney.
"The Hanging Garden organic ba-
rricade installed in the courtyard of
the Miró, which will change as the
seeds inside grow, does not hide its
connection to land art, "said Mile.
The Commissioner made a correct
selection of work beyond chrono-
logical or thematic approaches,
their ability to dialogue with the
space and provide an overview of
the artist as possible outside the to-
pic of Lebanese women, of Palesti-
nian family in exile in London since
1975 and politically compromised.
"Art is open and does not know po-
litical agendas. Interpretation is in
the mind of the beholder," said Mo-
na Hatoum was born in Beirut and
one of the most interesting artists
on the international scene in front
of an installation with pumps of va-
rious types , made with colored
Murano glass.
"People know I'm Palestinian and
think are bombs against Israel, but
there is no sign with their origin or
destination. Each one can interpret
as you like. What interests me is the
contrast between the beauty of the
material, the refinement of manu-
facturing and the feeling of fear and
danger arising from the object re-
presented, "he said.
The vast majority of the pieces em-
body this dichotomy between beau-
ty and horror, and seduction and
danger.
Just as the Hanging Gardens de-
monstrates that life can arise in the
most inhospitable places, Suspen-
ded swings, have extended their
sway ghostly but visitors are gone
(it's worth staying to watch it), refers
to the imbalance, instability and
precariousness in which we live, but
this does not remove the desire to
have fun.
A curtain leads to more domestic
works: his self-portrait as endoscopy
and colonoscopy, projected on the
plate of a beautifully set table, and
oversized cookware linked to the
dreamlike world of surrealism.
In an extraordinary crescendo, the
exhibition displays a monumental
sand mandala mechanic, the
"creature power" Undercurrent and
the work created especially for this
exhibition, Turbulence, a slippery ta-
pestry made of glass marbles.
"The language of art is slippery. I do
not work with a predetermined stra-
tegy, I rely on my intuition and pla-
ce. Not everything is as it seems and
I do not want to provide answers but
to raise questions," he said.
Hatoum gave up the € 70,000 prize
to his old school, Byam Shaw School
of Art in London, to help foreign stu-
dents.
A political and poetic as his work.
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Page 30
Lightweight glass.
An ultra-thin, flexible glass that can
be wrapped objects was released
in Boston by the American compa-
ny Corning.
Call Willow Glass, glass was displa-
yed in the week of the Society for
Information Display's DisplayWeek,
an industrial fair held in this U.S. city.
Corning, based in New York, is the
company that developed the Gori-
lla Glass, a thin, transparent glass.
According to the company, the
material could be used not only
smart phones, but display screens
that are not flat.
But until those screens appear on
the market, the glass may be used
for the manufacture of mobile de-
vices.
"Every day the screens become
more and more ubiquitous, manu-
facturers tend to make the hard-
ware and its thinner screens," said
Dipak Chowdhury, director of Wi-
llow Glass in Corning.
The prototype was exhibited at the
fair as thin as a sheet of paper. The
company said that the material
can reach a length of only 0.05
mm thick, much thinner than cu-
rrent screens 0.2 mm or 0.5 mm.
New to Gorilla Glass?
The material used to make Willow
Glass is the result of the glass ma-
nufacturing process the company
calls Fusion.
The technique involves melting the
ingredients to 500 degrees and
produce a continuous sheet that
can be wound in a mechanism si-
milar to that possessed by a tradi-
tional press.
The winding method is much sim-
pler and faster in terms of mass
production than the conventional
process of creating glass slides su-
perslim, the company said.
In the future, Willow Glass could re-
place the widely used Gorilla
Glass, which is currently in various
smart phones and tablets.
In the technology fair Consumer
Electronics Show this year was held
in Las Vegas, Corning Gorilla Glass
unveiled the 2, which is 20% thinner
than the original product, but with
the same resistance.
The first generation of Gorilla Glass,
which was launched in 2007, has
been used in more than 575 pro-
ducts from 33 manufacturers. It is
estimated that over 500 million de-
vices are made with it.
The first to see their potential was
the founder of Apple, Steve Jobs,
who contacted Corning when the
company was developing its first
iPhone screen in 2006.
Further developments
Willow Glass is not the first attempt
to produce a flexible display futuris-
tic.
In recent years, scientists around
the world have been working with a
material called graphene, first pro-
duced in 2004.
This is a form of carbon supercon-
ducting films made from a single
atom thick.
In a BBC interview, the researcher
at the University of Cambridge An-
drea Ferrari said that prototypes of
flexible touch screens made with
graphene have been developed
and also to be extra strong and
flexible in the future may even give
users a "sensational" experience fe-
edback.
"We went from physical buttons to
touch screens, the next step is to
integrate some sensory capabili-
ties," said Professor Ferrari.
"Your phone will be able to feel if
you are playing, will capture the su-
rrounding environment will not have
to press a button or switch it off, he
will know if you are using it or not."
In a different project, scientists at
the Media Lab's Human Canadian
University Queen's University and
the Research Group of Environ-
ments Motivational State University
of Arizona, created in 2011 a proto-
type flexible millimeters thick of a
smart phone made from of a mate-
rial called electronic paper.
Scientists said they have used the
same e-ink technology (e-ink) than
that used in the Amazon Kindle.
"This computer looks, feels and ope-
rates like a small sheet of interactive
paper," said Roel Vertegaal doctor.
"You interact with it to bend like a
cell phone, turning the page from
the corner or writing on it with a
pen."
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Page 31
Glaziers returning to the shop.
Dirsa company, mainly oriented to
the sector of glass shattered.
The firm, with deep roots in the
region, presented a record of
employment for the extinction of
entire workforce: seventy people
who had their jobs well Dirsa
headquarters in Silvota stores well
in Oviedo, Gijón, The Felguera and
Aviles remained well on the street.
But every cloud has a silver lining,
or so I believe four former
employees of the delegation of
Avilés' Dirsa "who have decided to
go ahead with the business of
glass.
Rafael Moreno Well, Joaquin
Marquez Moreno, Maria José
Garrido Lamelas Diana Faustino
Alvarez are four brave convinced
that the glass business is profitable.
So they have joined forces to form
a limited company and will soon
open his own business in the same
location where already working in
the street The House and rent.
"Our activity will be the same as we
had, people know us and are
eager to start 'manifest and the
new company responsible for the
glass in Oviedo, who now live
immersed in a sea of red tape,
permits, lawyers ... The quartet
wants to do things right from day
one.
"What we want also to thank
customers the confidence and
encouragement they have given
us throughout this time," agreed
Rafael Moreno, María José
Lamelas, Faustino Moreno and
Joaquin Garrido, every day since
closed Dirsa are supported by
repeat buyers.
"Right now we just want to start
working, if it can be better
tomorrow than last. The crisis we are
not afraid, we can only be a little
nervous because this has been very
rushed and we are not in the
dynamics of walking with
paperwork and other "recognized.
But do not be put off.
They know that they expect many
residents of the region Avilés and
architects and design or decoration
that usually work with them to great
works.
They would endorse the
experience. Rafael Moreno entered
Dirsa with just turned sixteen and
forty-three years of work with this
firm. Faustino Garrido has 23 years
working in the glass sector, thirteen
and twelve Lamelas Maria Jose
Joaquin Moreno.
The four now start from scratch with
its limited partnership. Forecasts
quartet is opening the doors glass
business in the first days of July.
The name of your company? At the
moment it is still a mystery. Rafael
Moreno, Faustino Garrido, María
José Joaquín Moreno Lamelas and
prefer, for now, recognize them as
the glassmakers of Avilés.
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How does.
This month we include some pictures of the technique practiced by Richard Jolly.
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Page 33
Genoveva Garcia in Segovia.
depends on the situation in a perso-
nal level.
The nature and the desire to repre-
sent situations of everyday life is the
inspiration for this Segovia that ma-
nages to capture what you feel in
each of his works.
The artist was invited to various ex-
hibitions and events by the late Jo-
se Maria Moro.
The sculptor recognizes that the si-
tuation in Segovia is very hard, so
she started with exhibitions in galle-
ries that she sought or bars in the
province.
In his long journey, has exhibited his
work in Barcelona, Germany, Sevi-
lle, Santiago de Compostela, Fran-
ce and several times in Madrid, in
places like the Museum of Glass in a
group exhibition Alcorcón in 1998.
Genoveva Garcia recognizes not
expect anything from the project,
just want to participate in a move-
ment "excellent" by the County
Council to the development of art
in Segovia.
The work will be on display until July
2 in the hall of the Provincial Palace
of Segovia.
Genoveva Garcia Lopez yesterday
presented his work in the "A" ca-
rried out by the cultural area of the
County Council, with President of
the Provincial Francisco Vazquez.
The work included in this project is
a sculpture consisting of four volu-
mes of glass representing a symbo-
lism about life, death and above
all nature, interlaced with iron
hardness and identified on a log
that is related to the fire element
used to melt the glass.
The artist Segovia, has a long
history within the glass sculpture.
He began his training by studying
Arts and Crafts, but it was in 1990
when he discovered the glass and
as the artist has "blown away".
His work does not follow a single li-
ne, has a mix of different variables
that manage to reflect your perso-
nality and has managed to see
how different materials, "can ex-
press many things."
Bases his work on stage and not
only dedicated to the glass and
iron, because the way they work
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Page 34
Glass Art Society 2012.
Posted in Glass Objects.
From 13 to 17 June 2012 brought
together more than 1,200 artists
and connoisseurs of glass to partici-
pate in seminars, demonstrations of
various techniques, exhibitions and
conferences.
During the 2012 marks the 50th an-
niversary of "American Studio Glass
Movement," which had its begin-
nings in the Toledo Museum of Art
(U.S.) in the hands of Harvey Little-
ton, who in 1962 opened two expe-
rimental glass workshops to show
that the glass is a suitable medium
for the expression of artistic ideas in
a studio setting.
Harvey Littleton was a man with an
insatiable curiosity about the glass,
this is undoubtedly due to his fat-
her, a scientist who developed Py-
rex in 1915 and, often led him to
work with Corning Glass Works.
He organized the first hot glass pro-
gram at an American university
(University of Wisconsin-Madison).
Several students from Littleton
helped spread the study of art glass
along the U.S., including Marvin Li-
pofsky, who started a glass program
at the University of California at Ber-
kley, and Dale Chihuly, who deve-
loped the glass program at Rhode
Island School of Design and later
founder of Pilchuck Glass School in
Stanwood, Washington.
Until the 1940s, the typical percep-
tion of the glass came from its use
as an industrial material applied to
functional and decorative objects
especially designed for glass desig-
ners and quantity trained by skilled
glass artisans.
In the second half of the twentieth
century, a time filled with the spirit
of experimentation, the glass was
uncharted territory that allowed
multiple manifestations of bright, sa-
turated colors with great lightness
and plasticity.
This set in motion a movement that
was driven by an unprecedented
collective enthusiasm and has al-
ready become an international
phenomenon that continues to ins-
pire experimentation.
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Page 35
Angela Teunissen in La Granja.
On June 28 officially opened the
exhibition of works by Angela Teu-
nissen at the Tech Museum of Glass
in La Granja (Segovia).
In our Newsletter we reported last
May our visit to this exhibition and
the excellent impression that we
had caused the works of Angela.
This time we came together at the
Museum Angela many friends and
students who have attended the
course she has taught for eight
days in these units.
After a few words of the Director of
the National Glass Centre
Foundation, Aurea Juárez, and the
Museum Director, Paloma Pastor,
Angela Teunissen explained his phi-
losophy on the conduct of his
works in glass.
Fundamentally, Angela pursued in
all his works his desire to share their
experiences.
Therefore, most of his works are
composed of two parts.
She says that is to sell and the other
to give and share their work with
the buyer.
In connection with the works that
we saw in our previous visit to the
exhibition, we note that some of
those that were now exposed we
had not seen, and we said Angela
had sold some and had to replace
others in their place.
It also gave us the pleasant news
that the gallery Gaudí, Madrid, was
interested in his work and had for-
malized its representation to pre-
sent their achievements in major art
fairs in the world.
We also reported that the next day
16 will open an exhibition of his
works in the Museum School in the
town Alcarria of Luzon. We are very
happy because this is the second
representative of the glass art to ex-
hibit at this place, since previously it
had our good friend Pedro Garcia
in July 2011, and whose information
we include in our Newsletter of that
month .
We can not attend the inaugura-
tion because we'll be enjoying our
land Moroccan deserved rest, but
we promise to Angela that once
we return from our holiday, we mo-
ve to Luzon to see the exhibition
and greet the Councillor for Culture
of the City Council, Javier Herguido
Lopez.
After the inauguration of the works
of Angela we visited the pieces that
have made the five students who
participated in the course Teunissen
has taught for eight days at the
Foundation.
Each of them received the diploma
and we were describing each of
the works they have done.
Finally we were shown the joint work
they have done under the supervi-
sion of Angela.
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View photos
Page 36
The sun and the glass melt in Dusseldorf.
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On June 20 the organizers of the
International Exhibition of Glass,
Glasstec, and the International Fair
of Technologies for Solar Energy
Production, solarpeq, a luncheon
held in Madrid to present to the
press both events taking place
alongside the 23 to 26 October
2012 at Messe Dusseldorf, Germa-
ny.
During the presentation Hans Wer-
ner Reinhard, vice president of
Messe Dusseldorf and Joachim
Schmid, director of the German Fe-
deration of Industries of machinery,
provided the main details of these
two major professional events.
What makes the combination of
fairs and solarpeq Glasstec so spe-
cial is the encounter between the
glass and solar energy, which is
produced in a unique way to Dus-
seldorf.
The aim of this dialogue between
the two sectors is showing new sa-
les opportunities for the glass
industry and provide the solar in-
dustry new media and drives in the
race to reduce costs and increase
efficiency.
This objective is also the focus of
the specialized conference "Solar
meets glass" on the production of
solar technology that comple-
ments the expectations of exhibi-
tors and solarpeq glasstec.
Organized in collaboration with So-
larpraxis be held on 22 at the fair-
grounds and 23 October in the
Congress Center East.
The conference includes among its
components with both suppliers
and customers to take into ac-
count equally all topics of interest
from both perspectives.
Glasstec is a trade fair that brings
together exhibitors from 52 coun-
tries and attracts visitors from 86
countries, in its last edition in 2010,
1,274 exhibitors presented their in-
novations and products in the
Düsseldorf Exhibition Centre, with
over 40,000 visitors.
Glasstec is definitely a venue for in-
ternational managers are those
who make investment decisions.
The show became a showcase for
the entire value chain of the glass
industry, production and proces-
sing, with an extensive program ai-
med at a broad prospect ranging
from architects, civil engineers,
planners and business fronts in the
solar sector.
Given the scale of the fair, the year
2012 edition of this new feature ca-
lled "compass trends" that will guide
the search for new products and
innovations to visitors of the fair.
According to Professor Don Udo Un-
geheuer, president of the Federa-
tion of the Glass Industry and Glass-
tec 2012, summarizes this as follows:
"Glass is an important material and
future prospects, which saves ener-
gy and resources. Therefore, the
energy change of course should
not become a competitive disad-
vantage for the German glass in-
dustry, for a secure future for the
glass manufacturing industry in Ger-
many in the future will also contribu-
te decisively to achieve national
and global climate protection. "
This year again, the industry de-
monstrated in the Glasstec has
prospects and is versatile.
"We Glasstec is, of course, a date of
great importance for the sector.
There we will have opportunity to
show what is sustainable and inno-
vative glass as raw material, "says
Ungeheuer.
Page 37
Benefits for a company Cantabrian.
A Cantabrian company benefits
from more than 171,000 euros of
regional incentives
A company of Torrelavega, Revici-
clo SL, will benefit from 171,468 eu-
ros of regional incentives, by Order
published today by the Ministry of
Finance and Public Administration.
A company of Torrelavega, Revici-
clo SL, will benefit from 171,468 eu-
ros of regional incentives, by Order
published today by the Ministry of
Finance and Public Administration.
This is the only company Canta-
brian to have been granted regio-
nal incentives for investment pro-
jects, which in the case of amounts
to 2,143,362 euros Reviciclo.
This limited company with eight em-
ployees are located in the industrial
area of Tanos-Viérnoles and is dedi-
cated to handling and processing
of flat glass.
Specifically, treatment, recovery
and glass recovery, collection, sto-
rage and sale of waste, dirt and
waste, transportation of goods
themselves and others; and stora-
ge, distribution, handling and ma-
nufacture of glass objects and ma-
terials and packaging.
The Law on regional incentives to
correct economic imbalances bet-
ween areas is a tool for statewide
activities aimed at promoting entre-
preneurship with selective intensity
in certain regions of the state in or-
der to deliver balanced economic
activities within it.
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Carlo Scarpa exposition. Venini 1932–1947.
The exhibition Carlo Scarpa. Venini
1932-1947, opens a new exhibition
space dedicated to the project
"Glass breaks."
During the same days, which marks
the Venice Architecture Biennale
2012, numerous events will take
place and there will be many rea-
sons to visit the city of canals.
The award of the Next Landmark
contest, sponsored by Floornature
will be an opportunity to discover
new talents among young desig-
ners from around the world.
There will also be initiatives to redis-
cover some undisputed masters of
architecture, as Carlo Scarpa, star
of a new project "Glass Theme",
promoted by the Fondazione Gior-
gio Cini.
The exhibition "Carlo Scarpa. Venini
1932-1947", curated by Marino Ba-
rovier, narrates, through the more
than 300 exhibits, a specific period
of intense activity of the architect:
the artistic direction of the Venini
glassworks (1932-1947 .)
The works on display are prototy-
pes, unique, original drawings and
sketches and historical photo-
graphs and archival documents
from private collections and mu-
seums around the world gathered
for the first time.
The intention is to present a compa-
rison between the activity of Carlo
Scarpa as a designer and a career
in architecture, in addition to rese-
arch and reflect on the meaning it
had in his work the period spent in
Murano.
Title: Carlo Scarpa. Venini 1932-1947
Dates: August 29-November 29,
2012
Location: Fondazione Giorgio Cini,
Venice, Island of San Giorgio Mag-
giore - Italy.
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Page 39
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. 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
José María Gallardo Breña
Mª Luisa Martínez García.
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Page 40
Line of research. Images.
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Fig. 1
Fig. 2
Fig. 3
Page 41
Techniques. Images.
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Fig. 1
Fig. 2
Fig. 3
Fig. 4
Page 42
Glass Workshop. Images.
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Fig. 2
Plate 25
Fig. 19
Plate 26
Plate 27
Page 43
Angela Teunissen in La Granja. Images.
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