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Crazy month.

Last October was a little

crazy for the activities of

the Board of our Associa-

tion.

Day 1 started moving the

shop to the Martin-Rojas

brothers have in Azuqueca

de Henares (Guadalajara)

to accompany them and

Luis Parades, who came

from Asturias, and wat-

ching them work the roll-up

technique.

In this Bulletin includes ex-

tensive information about

what happened that day,

a photo essay and a link to

see the videos that were

made of the demonstra-

tion.

The following weekend we

traveled to Toledo to at-

tend the Craft Fair FARCA-

MA 2011.

It was attended by fifteen

artisans working glassma-

kers different techniques

and different products.

They met again with glass-

makers known from pre-

vious visits, as Montserrat

Gómez Fogliati and Anto-

nio de la Torre, two exce-

llent examples of stained

glass art, Marcos Arcos,

stained glass but also now

works with his partner, to

perform work jewelry and

Manuel Lopez Picazo, of

Berninches

(Guadalajara) with twisted

glass works excellent.

Met Juan Moreno Moya, a

specialist in grisaille and

enamel baked, very focu-

sed on research into new

techniques for making stai-

ned glass, Natalia Bencho-

am, stained as above and

has his studio in Coria

(Cáceres), to Stained Glass

of Consuegra (Toledo) and

Isaac Pérez Sánchez, with a

large carving technique at

hand, which was awarded

the prize for the category of

new artisans for his

"Pegasus".

On day 11 they moved to

Strasbourg (France) at 14 to

attend the inauguration of

the French phase of the

Biennial of Glass.

This sure was a memorable

experience, having been

found in the Museum Wurth

with the catalan artist Joan

Crous and important vertical

installation.

In this museum is the ope-

ning of the Biennale with the

assistance of a large part of

the artists who exhibited

their excellent works in glass,

as Antoine Leperlier, Anaïs

Dunn, Keiko Mukaide and

others.

On day 15 were in the villa-

ge of Bischheim, north of

Strasbourg to visit the exhibi-

tion of Raymond Martinez, a

French artist of 67 years.

CIC Bank also attended to

see the exhibition of glass,

but had to settle for viewing

from outside the building be-

cause it had not yet ope-

ned, despite the information

received.

They struck the windows of

the Cathedral of Strasbourg,

both for its color and its va-

riety of motifs represented.

More than 500,000 pieces

that are all of those win-

dows.

On 18 visited the Redondo

Aura workshop in Madrid's

Vallecas.

The day 19 were the Mu-

seum of Glass Technology La

Granja (Segovia) to attend

the conference Vesa Varre-

la Finnish artist, who in the

next two days would make a

technical demonstration of

their window.

On 21 moved to the town of

Vimbodí (Tarragona), where

the Glass Museum in that ci-

ty, where the workshop is Pa-

co Ramos.

There they could enjoy the

day after the well make Pa-

co saw him make a cruets, a

jug and a plate.

The Museum is set Vimbodí

educational plan, explaining

the origin of the glass and its

history through the ages, the

tools used to manipulate this

element glaziers heated to

high temperatures and some

of the techniques used for

manipulation.

It was curious to read that

those who invented the

glass, according to Pliny, we-

re pirates, when we had the

idea that they were Phoeni-

cian traders en route to

Egypt.

From Vimbodí visited the

monastery of Poblet and

Montblanc walled city.

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

Avda. Los Castillos, s/nAvda. Los Castillos, s/n

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

info@amigosmava.orginfo@amigosmava.org

Format PDF

Monthly Newsletter

Newsletters

Vincent Breed

Page 2

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Roll up in Azuqueca 5

Biennale in Strasburg 6

Research line 7

Activities in Museums 8

Reciclamadrid 2011 11

Farcama 2011 12

Vesa Varrela in La Granja 13

Activities on the MAVA 14

Glass and food 15

Technical Glass 16

News 17

Culture 2011 17

The Lorca lamps 18

Japanese investment 18

The glass museum 19

Visit to Santa Lucia 20

Glass recycling 21

Cultural tours 22

Culture 2011 Programme 22

Glassblowing course 23

Walk in Style 2011 24

Other trends 25

Sofa Chicago 2011 26

Glass workshop in Murcia 27

The Large Glass 28

Life 13.2 29

Tree of Life 30

How does 31

Luso-Spanish congress 32

Vidriarte course 33

Glassblowing in Malta 34

Glass staircase 35

Expensive apartament? 36

Directorate 37

Intellectual Property

Law

TITLE III.

CHAPTER II. LIMITS.

(continued)

Not need the permis-

sion of the author of a

protected database:

When you make a

reproduction for pri-

vate purposes.

When making the

purpose of illustration

for teaching or rese-

arch.

In the case of public

safety purposes.

Works permanently lo-

cated in public places

may be reproduced

by audiovisual proces-

ses.

Public domain works

may be used by anyo-

ne, while respecting

the authorship and in-

tegrity of the work.

TITLE V. Transmission of

rights.

CHAPTER l. General

provisions.

The rights are transfe-

rred mortis causa by

any means recognized

by law.

The rights of exploita-

tion of the work may be

transferred by inter vi-

vos acts.

Will void the transfer of

rights in respect of all

the works that the aut-

hor may create in the

future.

Will be null stipulations

whereby the author un-

dertakes not to create

any work in the future.

Any transfer shall be in

writing.

The transfer granted by

the author for a conside-

ration to a proportional

share in operating inco-

me.

May set a standard fee

to the author.

If the lump sum transfer is

manifestly disproportio-

nate to the author's re-

muneration and benefits

obtained by the licen-

see, he may seek review

of the contract.

The transfer of exclusive

rights shall be expressly

granted by this charac-

ter.

The exclusive transferee

may transfer his rights to

another with the express

consent of the transferor.

The transferee shall be

entitled to exclusive use

of the work under the

terms of the assignment.

U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S

Employment workshops at La Granja.

The director of the Na-

tional Glass Centre

Foundation (CNV) va-

lues collaboration, "and

understanding" of the

job responsibilities of

Castilla and Leon in

supporting projects

through employment

workshops' Processes of

Glass Art ', funded by

the Ecyl (Employment

Castilla y León).

The Hall of the Royal

Glass Factory at La

Granja was the scene

of the closing of two of

these workshops, in

which twelve students

participated, mostly

middle-aged, accor-

ding to Aurea Juárez.

The director of the

Foundation called

"spectacular" work per-

formed in these works-

hops, one on the con-

servation of the collec-

tion of glass molds and

a recovery from the

sketches of the Great

Collection of Maumeje-

an (late nineteenth

century to the seventies

of last century) present

in the CNV.

New workshop

Precisely in this

November will start

another workshop, this

time with eight people

and dedicated exclusi-

vely to the task of reco-

very Maumejean Co-

llection.

Juarez also reported

that since the gover-

ning body of work is

starting to accompany

those who finish these

workshops and other

training activities in the

SEC "to lend a hand"

and with the coopera-

tion of the City, trying to

promote self-

employment in the mu-

nicipality on aspects re-

lated to the glass.

SPECIAL INTEREST:

Part of the month

Roll up in Azuqueca

Biennale in Strasburg

Vesa Varrela in La Granja

Activities on the MAVA

News

Our activities

Glass recycling

How does

Important issue: the Intellectual Property Law (IX) M.A.C.(IX) M.A.C.(IX) M.A.C.

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Page 3

Part of de month. Galia Amsel.

Galia Amsel, grew up in Hong Kong

until the age of 16 years when he

returned to London, his hometown,

to perform various studies in the

field of design and fine arts.

Middlesex University and a master's

degree two years at the Royal

College of Art in London gave him

the necessary theoretical knowled-

ge, while the realization of indus-

trial designs for pottery and molds

were finally completed their exper-

tise to work the glass.

In 1991 began his teaching career

and, soon gaining recognition for

his work.

Is selected for the exhibition in Veni-

ce Vetro Aperto 1996 edition and in

1998, is included in the select list of

the prestigious Jerwood Applied

Arts, which had focused for the first

time in glass.

Galia Amsel's works are part of geo-

metric abstraction.

The simplicity of its forms and the

choice of colors derived from their

education in the Far East.

His glass sculptures have intense

movements, rhythms and tension.

Open rings, broken circles that

open at the end to look, free lines,

rectangular, square or wavy with a

magnetic force.

These forms associated with the ba-

sic geometry are always interrupted

dramatically, sometimes by a court,

other via slides and other by the in-

clusion of a color field.

The empty spaces are as important

as those occupied by the mass of

glass.

His sources of inspiration in the trace

missing ethnographic collections of

cultures, ethnic jewelry in which a

specific value was given ritual, but

also in large natural landscapes,

landforms repositioned man in a ti-

ny scale.

"Beyond Space I" was part of the

whole works in the exhibition alter-

native views that MAVA dedicated

in 2004.

In the summer of that year he mo-

ved to New Zealand.

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Page 4

Established artists. Vincent Breed.

Vincent Breed was born in Haar-

lem, the Netherlands, in the bosom

of a family of painters and sculp-

tors.

In 1983 the family settled in the

French Burgundy and he produced

his first sculptures in stone, wood

and ice.

In 1987 he began his studies in Fine

Arts.

In 1990 he received his diploma in

Fine Arts in Besançon and conti-

nued his training in Industrial De-

sign.

In 1992 he obtained his degree in

Industrial Design at Dole and is ad-

mitted to the School of Decorative

Arts in Strasbourg, France, and en-

ters directly into the second year. It

is now that it meets the glass.

In 1995 he spent some time in Mon-

treal in the training center Espace

Verre.

On his return he visited several

glass-blowing workshops in France,

to learn the specific technique of

the French masters.

His creations are presented in the

contemporary collection of Sordello

Gallery (Paris).

First participated in the International

Exhibition of Verre Contemporain

d'Alisay.

In 1996 Petr Novotny welcomes you

to his home in Novy Bor, Czech Re-

public, for training in the production

of spare parts and exceptional ar-

tists.

Upon his return, Vincent Slagerman

work with Scott, an American glass-

maker installed in Paris for two ye-

ars.

Technical and perfectionist, ap-

proaches the glass as an artist and

art supplies and support contempo-

rary artistic expression.

His taste for thoughts and thought-

forms and dominated him to focus

on blowing, the noblest expression

mode of the glass.

This practice requires a long prepa-

ration and precise, a necessary ma-

turing of the design of a mental

image that should materialize and

be blown at a precise time, no tur-

ning back, which enhances the

shape and material quality.

Your web

Young artists. Anaïs Dunn.

Anaïs Dunn was born in 1984 and

initially specialized in metal work,

sculpture and bronze objects.

Then he discovered a new art,

blown glass.

Around two preferred materials,

shapes and assembles Dunn these

materials, fixed in appearance,

and collects, channels, catch or

release a movement.

His work is translated into a utopian

machine and experience between

the chemistry and magic.

Has made available to the visitor

triggers the tests or to discover the

movement in suspension.

Dunn has created especially Anaïs

and has implemented a bubble

machine for the Métiers d'Art Non-

tron space and two monumental

sculptures for the city of Chalette-

sur-Loing.

In 2003 she received her diploma in

sculpture Métiers d'Art applied to

the metal with the congratulations

of the jury at Olivier de Serres scho-

ol.

In 2009 won the National Diploma

of Fine Arts, marked "Quality Perfor-

mance" at the School of Decorati-

ve Arts in Strasbourg.

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Page 5

Roll up in Azuqueca de Henares.

On October 1 we had the pleasure

of looking in Studio Martin-Rojas,

Azuqueca de Henares

(Guadalajara), the roll-up session

together that made Luis Parades,

Diego Martin-Rojas and David Gar-

cia.

The day before had called to an-

nounce our visit Diego after a long

time without putting us in touch,

and gave us the joy of announcing

that they were awaiting the arrival

of Louis Parades from Asturias, who

had already visited in the month of

May Last year in his workshop and

whose visit gave full information on

our Bulletin No. 23 of June 2010.

We had also been with him in the

delivery of the National Crafts

Awards at the Ministry of Industry,

Tourism and Trade, in Madrid,

which also act reported in our Bu-

lletin No. 26 of October of last year.

Reaching us at the workshop on

Saturday morning were preparing

the oven to melt the pieces and

another heating the flat he had

brought Louis.

So, while it reached the right tem-

perature for the realization of the

pieces went to take a drink at a te-

rrace surrounded and enjoy the

splendid morning we were doing.

When they calculated that should

be about the furnace back to the

shop and began the task.

Luis opened the session working on

a post collecting the oven to give

a circular shape and then go flat

rolling the piece was ready in the

other oven.

As the work unfolds in a much mo-

re favorable with the help of ot-

hers, Diego and David pitched in

to the execution of the piece.

To perform this technique requires

three ovens:

one for melting glass with which

to form the circular base of the

piece,

other to keep warm flat forms to

be used to scroll through the one

cited in the preceding para-

graph, and

one for the annealing of the pie-

ces.

After working the room, with subse-

quent transfer into the oven to

temperature suitable for handling

after it has been cooling with pre-

vious work by one of its sides, you

have to dip into the Puntila to work

the opposite end.

When I was developing the imple-

mentation phase of the mouth of

the piece, the Puntila said he was

tired of holding and, without war-

ning, he left her and let it

crashed into the ground.

All we are left with an enormous

sense of frustration after seeing the

effort put into its creation.

But that work with glass. The more

excited is the artist performing the

piece, this capricious element dis-

rupts all plans and start again.

And this was what did our friends.

Now it was his turn to Diego, he

could make a success of his work

and allowed to stand in the annea-

ling furnace.

Then it was his turn to David, who,

after a valiant effort in the perfor-

mance of his piece did not achieve

the desired result and he played a

fateful Puntila trick.

When it was again the turn of Luis

Parades we had to leave and we

saw the completion of his new

work.

Throughout the next day they were

doing more work, which, together

with the previous day, they went

with Luis Asturias to continue to land

the finishing process to reach its

endpoint.

We hope that when the process is

finished and definitive works see the

light, pass us some pictures of them

so that we can disseminate through

this medium.

Meanwhile, we are content to offer

a series of images captured during

the process of realization in Azuque-

ca.

We have also made a composition

of video and photos that you can

watch on the link below.

To summarize this whole experience

for us, we can conclude that we

have spent an extraordinary day

with friends and knowing the reali-

zation of a technique such as roll-

up live, which is completely diffe-

rent visions through a video.

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Page 6

Biennale of Glass in Strasbourg.

On October 14 we attended the

opening of the French phase of the

International Biennial of Glass,

Strasbourg (France).

Well before the President of L'ES-

GAA, Laurent Schmoll, we had ex-

tended the invitation to participá-

semos in the opening ceremony.

Since the city of Strasbourg and its

surroundings offer a wealth of inte-

resting places to visit, we started

our stay in Alsace 11 on Tuesday

afternoon.

The city's main transport bicycles

and trams.

It is an enormous amount of people

from all walks of bike they move

from one place to another. Bike la-

nes are all over the city and must

be respected like it or not, because

they are very popular for cyclists.

The trolley has six lines that cross

the center and head to the su-

burbs.

The opening ceremony was held

at the Museum Wurth, in the town

of Ersnstein, where the multinatio-

nal has a large factory and a mo-

dern and spacious museum.

It seems that in this building only

offer temporary exhibitions, this ti-

me, offer the visitor a lot of glass

sculptures and some of them up

with other materials.

You can see most of the pieces in

this collection through the follo-

wing link.

In the exhibition we find Joan

Crous, glass artist of Catalan origin

and living in Italy with his wife of

that nationality.

Joan presents a large vertical insta-

llation made of glass, sand and the

most varied objects. A photo of the

work can be seen on page 43.

A large audience attended the

opening ceremony which packed

the large hall where the ceremony

of opening of the exhibition and

many people had to stay away

from visiting the exhibition hall.

Most of the works seemed to us ex-

traordinary, but as most important

works for us, we highlight the Har-

vey Littelton those of Libensky,

Gasch-Muche those of the Breed,

of Cigler and the Leperlier.

All of them can be seen in the pho-

tographs attached on page 43.

We could not entertain a lot in the

opening ceremony, because our

train was going at a time determi-

ned by Erstein station and could not

afford to lose.

The next morning we moved to

Bischheim, north of Strasbourg to

visit the exhibition of Raymond Mar-

tinez, a French artist whose 67 years

and exhibits can be seen on page

44 of this Bulletin.

Also we were informed that the

Bank CIC had opened an exhibition

of pieces of glass the past 14 days,

but we were on day 16 in the mor-

ning and was still in preparation, so

we had to be content to see some

from outside the enclosure glass on

the ground floor of the Bank.

We also had the opportunity to ad-

mire the stunning stained glass win-

dows of the Cathedral of Stras-

bourg, a collection that exceeds

500,000 pieces with extraordinary

polychrome. We have seen fit to

include the artwork that we obtai-

ned in the following link.

In addition to these wonderful stai-

ned glass windows, we could admi-

re many others that are distributed

throughout all the churches we

have visited this beautiful French

city, both ancient and modern per-

formance.

In short, we spent some great days

in this beautiful city and we were

able to admire many of its art trea-

sures, as well as to behold many

glass sculptures by some renowned

artists from various countries.

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Page 7

Line of research: Test (II).

Estefanía Sanz Lobo.

Calculations recommended by

MOORMAN

The author proposes that once the

softening temperature, these cal-

culations are made:

• Subtract 33 to the softening point

(STP, Slump Test Point) for the higher

temperature annealing (UAP, Up-

per Annealing Point)

In our case, it would be:

590 ° - 33 = 557 º

• Subtract 40 to UAP again to get

the annealing point (AP, Annealing

Point)

Have the following:

557 º - 40 = 517

• Going down another 40 degrees

find the lower temperature annea-

ling (SP, Strain Point)

This would:

517 º - 40 = 477

Calculations Royante recommen-

ded Chantal

Since the establishment of the sof-

tening point, these calculations:

• Subtract 33 to the softening tem-

perature for the higher temperatu-

re annealing.

We face the following:

590 ° - 33 = 557 º

• Subtract the temperature again

to 52 above, to obtain the stress

point or lower annealing tempera-

ture.

We obtain this information:

557 º - 52 = 505

None of these sources justifies the

proposed equations, or explain

what is the basis of the remaining

figures, which they call as appro-

priate constant or regulations.

Ensure its smooth operation, sup-

ported by professional expertise.

The similarities are remarkable

enough in the higher temperature

annealing to consider that this is a

reliable estimate.

Alarmingly, however, note that the

point of annealing varies conside-

rably according to different esti-

mates, especially considering that

at this point is to make a long pla-

teau to help break the tension that

has acquired and merged glass to

become more high temperature.

Failure to keep the temperature

constant at that point, the stresses

need much more time to relax.

Lower annealing temperature is

around 490 degrees, but also va-

ries considerably.

The range of annealing safer, the-

refore, be found among the 560

and 480 degrees.

Of the various calculations presen-

ted we conclude that in the artistic

glass works in a rather empirical,

relevant data obtained in an ap-

proximate way, almost by trial and

error.

Drawing on the scientific literature,

we find certain formulas and pro-

cedures for establishing these criti-

cal points in the temperature cur-

ves of the glass.

However, in many cases are desig-

ned for laboratories and industries

require special laboratory facilities

and expertise chemicals out of re-

ach of most artists.

In these equations take into ac-

count important factors such as the

thickness of the glass, its composi-

tion, its coefficient of expansion,

etc.

THERMOFORMING TEST.

Homogeneity of the oven tempera-

ture in the range 600 ° -700 ° C.

The temperature range between

600 ° and 700 ° is one in which tech-

niques are performed with flat glass

volume, known generically as ther-

moforming.

They consist of modifying the shape

of a flat sheet of glass bringing the

temperature beyond the softening

point, using the force of gravity so

that the glass molds suits of various

kinds.

Purpose of test:

Once the softening point of the flo-

at glass in the oven, around 590 ° C,

it is to investigate what is the tem-

perature that occurs most thermo-

forming and which areas are cold

and hot from the oven at this tem-

perature range.

With these data we can obtain

adequate information to design

curves for a thermoforming tempe-

rature.

We also serve to find out what are-

as of the glass furnace is deformed

to a greater or lesser degree.

Development of the test:

As anticipated in the chapter on

the evidence of softening, there is

another method more complex

than described here to find out

what is the softening temperature

and, incidentally, what areas are

hot and cold oven.

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Page 8

Actividades en Museos I.

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Page 9

Actividades en Museos II.

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Page 10

Actividades en Museos III.

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Page 11

Reciclamadrid 2011.

From 8 to 20 this month of Novem-

ber in Cosmo Caixa headquarters

in the city of Alcobendas Madrid,

the Third International Exhibition of

art recycling and sustainability, the

fair Reciclamadrid.

Organizes and promotes the fair

Fila5.Arte firm, led by Susana Apari-

cio Ortiz, a person engaged in

body and soul to the glass and has

had to suffer a bad taste in this fa-

cet of the art world, some of them

very close to our Museum.

Collaborate in this fair number of

institutions that make possible in

these times of crisis the celebration

of this event.

From these pages we express our

congratulations to Susan for the te-

nacity and desire for work that de-

monstrates the organization and

implementation of the three edi-

tions of this fair.

In connection with the participation

of glass in the exhibition of this Fair,

highlights of "Jewels carried through

recycling and / or reuse of waste"

and PRACTICE SEMINAR III. "THERE IS

LIFE AFTER THE TRASH" with the parti-

cipation of Nutopia Land. Produc-

tion non-toxic. Reflecting on chemi-

cal intolerance syndrome in art

workshops.

Workshops on Recycling, Susana

Aparicio instructor participates in

the workshop "Recycle glass" with

the theme "For a glass bottle that is

recycled saves the energy needed

to be on a TV for three hours." This

workshop is open to the general pu-

blic on Sunday, November 12th

from 11.30 to 13.30.

We are confident that this new edi-

tion of Reciclamadrid will be a suc-

cess as it has been in the past.

We will be there to tell in the next

Bulletin.

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Page 12

FARCAMA 2011.

Were present at the last edition of

the fair FARCAMA held in Toledo

between 7 and 16 of last October.

At the fair fifteen glassmakers were

present with different techniques.

From Fogliati and Antonio de la To-

rre, in the field of stained glass to

Marcos Arcos in the field of jewelry,

to Isaac Perez in the arm length

and Anna Ubeda in jewelry.

This year, the show has had a parti-

cipation of around 250 exhibitors,

showing them a great quality in the

products.

Both the Bridge as Archbishop Tala-

vera has exposed excellent potte-

ry.

These include the participation of

San Gines Ceramics of Talavera de

la Reina, who was the winning

company of National Crafts Award

last year 2010.

In recent days we have had the

pleasant news that have been

granted to Isaac Pérez Sánchez

(circled in photo), Toledo carver

trained in La Granja, the award for

New Craft Section for his "Pegasus".

A large graphic information of the

fair can be seen on Page 45.

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Page 13

Vesa Varrela in La Granja.

On October 19 Vesa Varrela lectu-

red at the Tech Museum of Glass in

La Granja (Segovia).

Vesa was born in March 1957 in the

Finnish town of Turkun.

In his dissertation, the artist infor-

med us that he, in the artistic as-

pect comes from the sector of in-

dustrial glass and design.

It started in the art through pottery

and is entirely self-taught in glass

formation.

It was some time learning the tech-

nique of glass in Denmark.

He likes working the glass to sensa-

tions through the lights and sha-

dows.

Always try to capture in his work

different aspects of nature.

He spent time as a fan and made

his first exhibition in 1985.

Works mostly cold techniques and

the sand mold. He does not like the

theoretical aspects of the techni-

ques, prefer experience them in

practice.

During his time as a laborer in the

factories of industrial glass using her

free time to do personal experi-

ments.

Some of his designs appear in the

editions of the famous children's bo-

ok "The Prince" by Antoine de Saint-

Exupéry.

Photographic techniques applied in

their work, inserting pictures in the

windows, as seen in the work that

the MAVA has in its permanent co-

llection, in which appears the pictu-

re of his mother at the age of 17.

He has participated in the struggle

of the Czech Novy Bor against

school closure glass that locality. In

our newsletters for the months of

December 2010 and January 2011

and we became an echo of this

sad affair for the attempted dismis-

sal of Frantisek Janak.

In his latest works, Vesa fish incorpo-

rates the silhouette of his works to

appeal to the consciences of the

number of disappearances taking

place in the seas as a result of in-

dustrial discharges, mainly.

Incorporate their designs is initially

reflected in glass textile pieces,

such as boots, clothes, swimsuits,

etc.., So that their income are

strengthened by the sales of these

products.

We offer some pictures of this event

on page 46.

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Page 14

Activities on the MAVA. Science Week.

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XI SEMANA DE

LA CIENCIA EN EL

Química: soluciones para

un mundo sostenible

PROGRAMA

Las actividades tendrán lugar entre el martes 15 y el sábado 19 de noviembre en el MAVA:

1. Exposiciones didácticas: “La Química del Vidrio” y “Las Tres R del Reciclado de vidrio”. Materias primas,

herramientas, procesos, fotografías, paneles y videos didácticos cedidos por el Museo de la Real Fábrica de

Cristales de La Granja y por ECOVIDRIO.

2. Talleres para estudiantes de Educación Primaria, Secundaria y Bachiller.

1. Taller de grabado con lápiz eléctrico sobre vidrio

2. Taller de grabado al chorro de arena

Martes 15, miércoles 16, jueves 17 y viernes 18 de noviembre

Educación Primaria: de 10 a 12h

Educación Secundaria y Bachiller: de 12 a 14h.

Colabora: Colectivo de VITRIUM de Alcorcón

NOTA: Los grupos de alumnos realizarán uno de los dos talleres propuestos. Cada alumno traerá su propio

bote, vaso, botella, etc. de vidrio, limpio y sin etiquetas para llevárselo grabado. El objetivo de los talleres es

concienciar a los alumnos en la reutilización de objetos de vidrio de uso cotidiano. Al decorarlos y personali-

zarlos con técnicas de grabado, se transforman en objetos con un nuevo uso, que de otra forma, irían al

contenedor de basura.

3. Talleres abiertos para niñ@s: De 18 a 20h

Martes 15, miércoles 16, jueves 17 y viernes 18 de noviembre.

Colectivo ALARTE: días 15 (martes) y 17 (jueves). Grabado con lápiz sobre bote de vidrio y pintura de su-

perficie plana de vidrio con inclusiones.

MirArte: días 16 (miércoles) y 18 (viernes). Mosaicos con fragmentos de vidrios de colores.

4. Exhibición de Soplado de vidrio, a cargo de Igor Obeso con el Patrocinio de la empresa Recuperación y

Reciclaje de Vidrio S.L.

De miércoles 16 a viernes 18, de 10 a 14h y de 17 a 20h

Sábado 19 de 10:30 a 14:30h

5. Visitas guiadas a grupos:

Colectivos, Asociaciones, Colegios, Institutos. Mínimo 10 personas. A cargo de Voluntarios de la Confedera-

ción de Aulas de la Tercera Edad.

Reservas para centros educativos, grupos y talleres abiertos para niños - a partir del 24 de octubre- llamando

a los teléfonos:

General del Museo 911 126 630

o Centros de Educación Primaria (de martes a viernes de 10 a 12h)

o Talleres abiertos para ñiñ@s por las tardes

Administración y Dirección 911 126 635

o Centros de Educación Secundaria y Bachiller (de martes a viernes de 12 a 14h)

o Visitas guiadas a grupos por las tardes

Page 15

Glass and food.

During the week of 17 to 21

October was held in Barcelona a

sustainable event based on a

binomial at all unusual: gastronomy

and glass.

The event name, oh! BCN,

indicates just the look of surprise

the viewer in front of the creations

made by it.

Food design event in which

creativity, attention to new trends

and sustainability are the focus of

its development.

Starring Albert Adria Event,

Christian and Francesco Morace

Escribà who have contributed their

expertise in the art and meetings

that have taken place during the

different days of the event.

Several artists have made work the

sugar plant as if it were glass, sea

scenarios playing Barcelona, the

famous Boqueria market and the

Paseo de Gracia.

We're talking glass designs and

prototypes with sugar made by

multidisciplinary teams and

international results of the most

evocative.

The gala evening was developing

low notes of live performance of

composer Tree "(Miguel Marín),

accompanied by strings and Sara

Fontan Runarsdottir Bjort a video

artist Javier Milara installation.

Also interesting to observe the

tasting was also a creative cuisine

in its real sense of the term, the work

of Iker Erauzkin: spray of mushroom

soup, a mini bottle of Coca Cola

containing squid soup, foie gras,

rice and sheets of sugar and gold

are some of the dishes that I enjoy.

All, of course, were in a glass

container.

And finally gin and tonic on

specimens to confirm the originality

of this innovative project linking

food, design, craft and art glass

under the Barcelona Design

Festival.

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Page 16

Glass techniques. Color palette (VI).

Estefanía Sanz Lobo

Desvitrificaciones

The desvitrificaciones are due to

the mass elements of glass out of it

and crystallize.

Often these elements are alkalis.

The desvitrificaciones occur espe-

cially if it stays a long time between

850 ° and 600 ° C, which are the

temperatures at which the glass is

fluid, providing an opportunity to

align certain components by follo-

wing a standard lens.

The dirt in the oven or on the surfa-

ce of the glass can contribute to

that devitrification.

Various commercial products are

manufactured to avoid devitrifica-

tion, which consist primarily of a dis-

solved in liquid flux that can be ap-

plied to the glass surface before

baking and make this a shiny coat.

Devitrification appears as a whitish

veil, usually on the surface of glass,

which it partially opacified, outs-

hine.

By looking through a microscope

with 500 magnification, we can see

a texture similar to ice needles.

Figure I shows a photograph taken

from a microscopic view of a par-

tially devitrified glass.

Needles are formed resembling the

form of ice.

In the process of glass fusing, "the

phenomena of devitrification acts

in the thermal range 650 º to 850 º

C, either heating or cooling."

This may be due to the following

factors, as has been shown in tests:

Temperature.

A drop too slow between the maxi-

mum temperature of the curve to

550 ° C.

In this case, all parts of a batch, or

a tray of oven, are partially or com-

pletely devitrified.

The time-temperature combination

is usually the main agent of devitrifi-

cation.

To avoid devitrification to achieve

a full merger, for example, it is bet-

ter to spend less time at higher

temperatures than at lower tempe-

ratures longer.

Dirt.

The glass should be cleaned tho-

roughly before putting it in the

oven.

The fat of the cutting tools, as well

as dust, can cause desvitrificacio-

nes.

Tin.

The float glass production the tech-

nique has one side with tin impuri-

ties.

This surface can react chemically

with certain glazes and devitrify.

Figure II is a tile of a size of approxi-

mately 3 x 4 cm.

It certainly shows a devitrification

due to the presence of tin in the

glass surface, and which clearly

shows the shape of the area that

corresponds to tin, while the rest is

devitrified glass.

Other crystallizations.

The mixture of two glazes together,

or a metal nail with another for

glass, or a glaze can produce

unexpected reactions between

oxides, fluxes and glazes present in

these materials.

It effects the "crystallization" and

"dust."

The first is due to reactions betwe-

en the components, and the latter

to the presence of elements infu-

sed.

Figures III and IV can be seen due

to mixed crystals different nail.

They occur mostly with reds and

yellows in which oxides are present

cadmium or selenium.

Figures V and VI show that there

are mixtures in airborne dust, per-

haps due to the presence of trans-

parent and opaque elements from

reactions between the two glazes.

Figures VII and VIII are both types of

defect, crystals and dust in suspen-

sion in the same sample.

Bubbles

We have already mentioned a kind

of bubble, due to lack of tempera-

ture to achieve the level of fluency

necessary to remove the gases pro-

duced by alkalis.

These bubbles occur when the ena-

mel is placed on the surface and

sandwich.

Other types of bubbles are often

present when working with glazes,

oxides and glass chips between

two planes.

The tests have found these: those

produced by the flux used, borax,

which is alkaline due to the excess

of black copper oxide and manga-

nese, and those caused by trap-

ped air between the chips.

However, Lundstrom, B. (1991), indi-

cates that the enamel overcooked

cause bubbling and discoloration.

As these bubbles are rigorous ma-

nufacturing defects.

However, when controls are an ex-

pressive.

To test different mixtures of enamels

on glass can be observed different

sizes of bubbles.

The largest and irregular should be

avoided so as not to jeopardize the

work (do not forget that the walls of

these bubbles are finer than the rest

of the glass and can produce ten-

sions and ruptures).

Bubbles due to the excessive

amount of oxides. Figure IX, manga-

nese oxide. Figure XI, black copper

oxide, in bubbles out of control.

Those in Figure X, because of its size,

would jeopardize the work.

Figure XII frits were placed in cold,

between two layers of flat glass.

Thus, after reaching a temperature

of approximately 650 º C, it softens

the glass above, that the effect of

gravity has fallen to the bottom ad-

hering to it before the chips had

melted with glass base, locking and

air between the two glasses.

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Page 17

N E W S (I).

where he recorded a high level of

radiation, the Russian Museum

asked not to expose the objects.

The Museum of Contemporary Art

in Takasaki city, located 210

kilometers from the nuclear plant.

Gunma was to be the ultimate

destination of the exhibition. The

Hermitage's website says that the

glass collection has been exhibited

in several cities in Japan: Sapporo

in June, July and September in

Tokyo. On 1 October the exhibition

will open at the Museum of Art,

Okayama Prefecture.

In total, the exhibition consists of 327

works of the funds from the

Department of Decorative Arts in

Western Europe and the

Department of Russian Culture. The

exhibition is dedicated to the history

of glass production in Western

Europe and Russia. It outlines

unique glassware, cups, bottles,

jewelry and beaded embroidery.

On October 29 we visited the ex-

hibition of Delacroix in CaixaForum

Madrid.

The exhibition features more than

100 works by the great French pain-

ter Eugène Delacroix (1798-1863),

one of the most prominent figures

of Romanticism, including some of

his oil paintings known as "Greece

Expiring sobe the Ruins of

Missolonghi" (Museum of Fine Arts,

Bordeaux), one of the sketches of

the "Death of Sardanapa-

lus" (Louvre, Paris) and "women of

Algiers in his place" (Louvre, Paris),

exceptionally loaned for the exhibi-

tion.

This exhibition, jointly organized by

the Obra Social "la Caixa" and the

Louvre Museum as part of a

partnership, is the most important in

Spain has been organized around

the figure of Delacroix.

Loans has such important institutions

as the National Gallery in London,

New York Metropolitan Museum or

the Art Institute of Chicago.

It proposes a journey through the

different stages of production, from

the early works, seeking inspiration

in the museum, to the stage of ma-

turity, in which the artist draws his

themes of reality, with special emp-

hasis on works of history Orientalists

and the meeting for the first time

since 1963, its centenary year.

The exhibition will be in spring in the

seat of CaixaForum Barcelona, in

dialogue with a selection of works

by Francisco de Goya, his contem-

porary.

According to Miro in Madrid that

confrontation will not require the

physical movement of the Arago-

nese painter works, "but is set a

nod" to the Prado Museum, custo-

dian of his masterpieces.

Culture 2011.

Cancellation of exhibition in Japan.

In the Museum of Contemporary Art

Gunma Prefecture was canceled

an exhibition of glass objects for

display assigned by the State

Hermitage Museum in St.

Petersburg, as reported by the news

agency Kyodo News.

The exhibition "The glass is admired

the Russian Imperial Court" was to

open in Gunma this December. But

due to the proximity of the location

of exposure, the nuclear Fukushima

I,

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Page 18

N E W S (II).

These pieces form part of the late

medieval temporary exhibition enti-

tled "Bibles of Sepharad: the lives

cross the text and its readers"

between January and April 2012 in

the hypostyle hall of exhibitions at

the National Library.

The Councillor for Culture of the Ci-

ty of Lorca, Sandra Martinez,

reported that the Municipal Ar-

chaeological Museum temporarily

provide the National Library of

Spain three glass lamps of the syna-

gogue Lorca castle to be exposed

in this building in Madrid.

Martinez explained these pieces

illustrate aspects of late medieval

forms of worship and enlightenment

in the Middle Ages in the synago-

gue of the Jewish quarter of Lorca

castellated form part of the tempo-

rary exhibition entitled "Bibles of

Sepharad: the lives cross the text

and its readers" between the

months of January and April 2012 in

the exhibition hall Hipóstila the Na-

tional Library.

The exhibition is organized by the

National Library of Spain, in collabo-

ration with the Center for Humani-

ties and Social Sciences CSIC.

The Lorca Lamps.

Japanese investment in Argentina.

The Nippon Sheet glass manufactu-

rer Glass, has announced it will

build a new plant in Argentina to

meet growing demand from the

construction and the motor industry

in South America, the newspaper

reported Saturday Nikkei.

The facility will be operated via

Glass Argentina, a "joint venture" of

the Japanese group and the

French giant in the industry, Saint-

Gobain.

It is expected that the investment,

estimated at 17,000 million yen (158

million euros), multiply by more

than double the production capa-

city of the company in this country.

It is also envisaged that the factory,

which will rise to about 70 miles

northwest of Buenos Aires, to be

operational in the first quarter of

2014 and has a line of float glass

manufacturing capacity to produ-

ce 800 tons a day.

Nippon Glass Sheet is the only glass

manufacturer in Argentina, where it

dominates about 50% of a market

that imports the remaining half.

Still, the glass produced at the new

factory will export local to Uruguay,

Paraguay and Bolivia.

Stained Argentina, which already

has a plant on the outskirts of Bue-

nos Aires that makes glass for cons-

truction and the automotive indus-

try, is owned 51% by Pilkington, a

British subsidiary of Nippon Sheet

Glass acquired in 2006, and 49% by

France's Saint-Gobain.

Founded in 1918, Nippon Steel

Glass is one of the leading manu-

facturers of glass, with operations in

29 countries, according to EFE.

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Page 19

The glass in Museums: Cisternerne.

The Tank Museum of Modern Art in

Glass, or Cisternerne, is one of the

most important cultural venues in

Copenhagen, located in the cen-

ter of the park Søndermarken.

They set out the main works of mo-

dern artists who have worked cut

the glass as a medium to express

their feelings and ideas in works as

varied.

The current museum was, in 2001, a

trio of underground tanks that were

refurbished to house the museum

and its rooms.

The Cisternerne has become very

popular with travelers because it is

opposite the entrance to the Co-

penhagen Zoo (Roskildevej).

To be formed, when children see

the striking figures in glass also wish

to approach a single output and

travelers can visit two of the won-

ders of the Danish capital.

Originally, the museum occupies

4,200 square meters, the area for

underground tanks, but in 2007 was

expanded to 1,400 square meters

more, allowing other important

works related to deposit with the

water tanks and glass works.

The Cisternerne is one of the unique

museums of Europe, a must for lo-

vers of travel and culture.

The purpose of "From Frederiks-

bergske Slotshavers Venner" (Friends

of Frederiksberg Palace Gardens) is

to promote and contribute to cultu-

ral and artistic activities in Frederiks-

berg Have and Søndermarken.

Society Platform is a cooperation

between Slots-og Ejendomsstyrrel-

sen, Frederiksberg Kommune and

societies and similar organizations in

Frederiksberg.

It is important to society, through

marketing, to report on activities

and raise awareness of this cultural

heritage through the artistic contri-

butions, guided tours and lectures.

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Page 20

Visit the Delegate at Santa Lucia Museum.

• The building has been built with

state funding of Plan E, for an

amount exceeding half a million

euros

• The neighborhood of Santa Lucia

de Cartagena has been historically

dedicated to the craft of glass.

The government delegate in Mur-

cia, Rafael González Tovar, last visi-

ted October 14 morning, the Mu-

seum of Glass, located in the

neighborhood of Santa Lucia, who-

se construction has been made

possible by state funding amoun-

ting to 504 600 euros of state funds

from Plan E.

Tovar Gonzalez noted that during

construction has created a total of

35 jobs, seeing and met several of

the objectives of Plan E, which has

been to create jobs, boost the lo-

cal economy and building infras-

tructure for the use and enjoyment

of the public.

Santa Lucia has traditionally been

an area specially dedicated to ar-

tisan glass, which is why it was

thought appropriate to build a Mu-

seum of Glass in this area, so that

also serve as a new tourist resort.

The building of high architectural

quality, consists of about 600 squa-

re meters over two floors and also

has spaces for showrooms and

workshops.

In addition, another module houses

the toilets, stores and offices.

On the other hand, González Tovar

said very proud that such facilities

have been built in Cartagena

thanks to Plan E of the Government

of Spain, Cartagena and invited vi-

sitors to come to contemplate the

historical legacy of a Centennial

office, typical of this neighborhood,

as is that of the glassmakers.

Finally, the government delegate

commented that the town of Car-

tagena has executed 109 projects

under the Plan E, for which it recei-

ved 59.4 million euros.

Of these 109 projects, 106 have al-

ready been paid to the City as a

whole.

With respect to the data of the

whole region, explained that the

Government of Spain already has

admitted to 383 million euros in the

municipal treasury for all municipali-

ties, representing 96 percent of the

total to enter.

Also pointed out that 21,113 contra-

cts have been generated in the re-

gion, of which 8215 were newly

created.

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Page 21

Recycling. Support recycling.

In recent weeks, Edurne, Elena Fu-

ries, Ivan Sanchez, Boris Izaguirre

and Fonsi Nieto took part in the fil-

ming of a short documentary ca-

lled "Many Lives: The Journey of

Glass", whose main objective is to

inform the public, so very enjoya-

ble, the phases of the process of

recycling glass.

This is an initiative of Ecovidrio, non-

profit association responsible for

managing the recycling of glass

packaging waste in containers in

Spain.

The short "Many Lives: The Journey

of Glass", which is currently in post

production, reflecting the whole

cycle begins with the purchase of

a product packaged in glass.

This trip will show how the consumer

plays an essential role because it is

who must deposit glass containers

in the green igloo.

From there go through the treat-

ment plant, glass factory and the

packaging to finally return to the

trade and begin a new journey.

In parallel and as an allegory to the

many lives that has the glass, all the

players have gotten the short in the

skin of several characters: Ivan has

been a customer and cashier,

Elena has represented a machine

operator and supervisor for a plant

treatment, Boris has gotten into the

role of director of a glass factory

that serves a journalist he played

well, Fonsi Nieto has played the ro-

le of workers in a different packa-

ging and Edurne has had the res-

ponsibility of being the driver and

operator of the truck responsible

for the collection of glass contai-

ners green igloos.

All locations where it was filmed

this short documentary are real si-

tes the recycling chain from manu-

facturing of glass containers and

packaging, to trade, through the

treatment plant where Ellen Furiase

and shared the stage surrounded

by Edurne large mountains of cullet

(glass ready to be blown clean

again).

The first to become aware.

All actors and actresses of the

courts have recognized that after

participating in this project their

perception of the glass recycling

process has changed and everyo-

ne has discovered something they

did not know.

"Although my husband at home

who cares to recycle more, I am

well acquainted with that packa-

ging must be deposited in the

green igloo," said Boris Izaguirre, "so

I was very surprised to discover that

some people still mix containers ce-

ramic and glass tiles, which seriously

hinders the recycling of glass con-

tainers. "

Meanwhile Ivan Sanchez, though it

is a responsible consumer recycled

glass that usually did not know the

reason that the cups and wine glas-

ses should not be deposited in the

green igloo because its composi-

tion contains heavy metals like rust

lead, and Elena Furiase acknowled-

ged that having seen the process

of recycling glass in first person is

highly motivated to recycle more,

"From now on will place a bucket to

collect all glass containers and

bring them down to the container

green ".

They are a reflection of doubts and

ignorance that many Spanish peo-

ple have about the process of recy-

cling glass, recycling glass even

those not always correctly or do not

know all the benefits.

"By participating in this project I dis-

covered, for example, that the

energy saved by recycling glass

bottles 4 could run a refrigerator for

a day," said Edurne.

Boris Izaguirre's statements in the

short do not believe they are very

accurate:

"You can alter the recycling chain if

you do it wrong. If, for example, in

this green glass igloo throw glass is

not the same. A glass of wine, a

glass of champagne, a glass, not

necessarily glasses are glass and

can not go together. "

Crystal is a homogeneous solid that

has an internal structure of its parti-

cles ordered lattice are atoms, ions

or molecules. The word comes from

Greek Crystall, the Greek name gi-

ven to a variety of quartz, which to-

day is called rock crystal.

A glass of wine or champagne or a

glass, without more, can not be

considered as crystal.

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Page 22

Our activities .

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2011.

Cultural Tours.

Culture 2011 Programme.

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On 8 November the Prado Mu-

seum opened to the public ex-

hibition 'The Hermitage in the

Prado', which show through one

hundred twenty works of great

variety and richness of the Rus-

sian museum collections from

the V century BC until the twen-

tieth century, through outstan-

ding archaeological pieces, de-

corative arts and painting the

magnificent funds,

sculpture and drawing, which

makes him one of the leading

centers of world art.

The exhibition, organized by the

Museo del Prado, Spanish Cultu-

ral Action (AC / E) and even the

State Hermitage Museum, spon-

sored by the BBVA Foundation, is

a unique and extraordinary op-

portunity to be the first time it is

displayed outside the Hermitage

a very important and large se-

lection of works from their ex-

ceptional collections.

Among the great masterpieces

of painting that will be part of

this exhibition include such nota-

ble examples as the San Sebas-

tian of Titian, Caravaggio's Lute

Player, San Sebastián de Ribera

and Velázquez Luncheon.

They will also accommodate

two important works from the

collection amassed by the Her-

mitage Rembrandt, Portrait of a

scholar and Fall of Haman.

Among the sculptures, you can

highlight the terracotta sketch

for Bernini Ecstasy of St. Teresa,

and one of the masterpieces in

marble of Antonio Canova, the

penitent Magdalene.

As for the decorative arts ob-

jects, will include the sword de-

corated with silver, rubies and

diamonds, donated to the Tsar

in the eighteenth century by the

Indian ambassador, and the be-

autiful flower vase in rock crystal,

gold and diamond jeweler the

imperial family, Carl Faberge

(1846-1920).

In this November will visit the exhibition "Sorolla

Granada" displayed from October 4 at the Museo

Sorolla.

Since his first visit in 1902 Sorolla was dazzled by

the landscape and the monuments of the city.

The exhibition brings together 24 of the paintings

the artist made several trips there.

Sierra Nevada, the views of the city or the court-

yards and towers of the Alhambra are among the

reasons that captivated the painter.

The landscapes are key held in Granada in its

production.

Page 23

Glassblowing course in Cartagena.

Employment Councilman of the Ci-

ty of Cartagena, Diego Ortega,

accompanied by the Director of

the ADLE, Francisco Garcia Valen-

zuela, and the President and Vice

President of the Association of Arti-

sans of Santa Lucia Glaziers, Ma-

nuel Gil and Francisco Garcia, at-

tended the opening of course to

welcome the students selected

and show your support for this trai-

ning to retrieve one of the oldest

professions in the history of Carta-

gena.

City of Cartagena. Monday, Octo-

ber 24, 2011

As the Councillor for Employment,

Diego Ortega, this course provides

the Museum of Glass's ability to

continue the tradition rooted in the

neighborhood of Santa Lucia, and

by which were created true works

of art.

The vice president of the Association

of Artisans Glaziers, adds that the

goal is to recover the tradition of

glass and train new professionals to

keep alive the craft.

Francisco Garcia claims that are

particularly excited because today

begins another chapter in the histo-

ry of the tradition of glass Cartage-

na.

The fifteen selected students have

started the training on Monday and

end on December 9 this year, an

action that takes place from Mon-

day to Friday from 09.00 to 14.00

hours in the workshops of the Glass

Museum in Santa Lucia.

During the 138 hours of lessons, parti-

cipants will learn, among others, is-

sues such as the preparation of the

furnace, blown glass pieces com-

pletion, with a duration of 138 hours.

From these pages, and a healthy

dose of envy, we give you our most

affectionate congratulations on this

initiative and we hope to be exten-

ded to other institutions in our coun-

try windows.

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Page 24

Walk In Style 2011 Award.

ECCO is Danish design. So this year,

the ECCO Walk in Style award trop-

hy is designed by Danish glass artist

Tobias Møhl, epitomizing Danish

glass craftsmanship at its best. We

catch up with the 41-year-old vir-

tuoso, who was educated at the

famous Holmegaard glass factory,

to learn more about the trophy

and his flourishing career.

The result of a close cooperation

between ECCO and Møhl, the

stunning piece – a glass shoe – de-

monstrates what you can achieve

with glass when you fuse expert

craftsmanship and Danish design.

“When we design shoes, we aim

high in terms of quality, craftsmans-

hip, technology and Danish design

standards. That’s why we wanted

to team up with Tobias Møhl to

create the 2011 ECCO Walk In Style

trophy,” says Matthias Schwarte,

ECCO’s Global Event and Spon-

sorship Manager.

“The trophy is as close as you can

get to a real-looking shoe using

glass,” explains Møhl. “I used a lot

filigree patterns - a method where

you use bands of twisted threads –

to make it as true to life as possible

and to showcase the fantastic

qualities of glass.”

How did you develop an interest in

glass?

“I came across glassblowing when

I was twelve years old during a fa-

mily holiday in Skagen, Denmark.

At that time, there were lots of

small glass studios popping up all

over the country, including Skagen,

which is traditionally where many

famous Danish artists have lived. I

went to visit a glassblower working

in his studio and immediately be-

came fascinated by the art. There

is a tradition of creativity in my fa-

mily: some of us are musicians and

my grandmother was a ceramicist.

When I was thirteen, I went back to

Skagen for a short period of time.

And when I was seventeen, I star-

ted working as a glassblower ap-

prentice at the world-famous Da-

nish glass factory, Holmegaard.

What is your design philosophy?

My interest in aesthetics and beau-

ty drives my design.

What other artists inspire you?

I am very much inspired by cerami-

cists Bente Hansen and Janne Reu-

mert, among others.

How did Møhl & Drivsholm Glass

come into existence?

My wife, Trine Drivsholm, and I star-

ted Møhl and Drivsholm Glass

about fifteen years ago. We had

met each other a couple of years

earlier. We needed a place to

work and it has always been a dre-

am of ours to be able to design and

sell our own things.

We ended up in Ebeltoft because

we both got jobs at the Ebeltoft

Glass Museum. Suddenly, a house

came up for sale in Ebeltoft and we

thought it would be nice to live

here permanently. Ebeltoft is the

glass center of Denmark. There are

seven other glass studios and the

glass museum, which provides a

window to the international glass

industry.

Have you been inspired by Danish

design?

For several years, I studied Venetian

glass art to learn from the real mas-

ters. However, I am mostly influen-

ced by the Danish design tradition. I

like the simplicity – simple shapes

and decoration. I am always plea-

santly surprised by how much res-

pect Scandinavian design receives

around the world. And I’m grateful

that the old Danish designers pa-

ved the way or younger genera-

tions.

Where can one buy your work?

I sell my designs in my own galleries.

I have a gallery in The Netherlands,

one in the United Kingdom, and of

course my Ebeltoft gallery, which

has small-scale production. But my

main focus is on my two galleries in

the United States. My most original

pieces and installations go there. I

also work with the Heller Gallery in

New York City and with galleries in

Seattle and Aspen, and recently

started working with the Adrian Sas-

soon gallery in London. I usually

have a couple of shows with them

every year and they take me to dif-

ferent trade shows, like the SOFA

show in Chicago and New York.

What are your upcoming projects?

I have a solo show coming up at

the well-known Heller Gallery in

New York. I’ve worked with this ga-

llery for five years but this will be my

first solo show. I’m also preparing a

show at the Ebeltoft Glass Museum

together with my wife.

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Page 25

Other trends. The Sorolla Granada.

It was love at first sight. Sorolla Gra-

nada was first seen in a brief trip in

1902, discovered the peaks of the

Sierra Nevada where he began the

affair.

He came back three times to paint

a total of 46 paintings depicting

the streets of the city and the Al-

hambra. Until February 22 can be

seen in the Museo Sorolla 24 of the-

se paintings in the exhibition Sorolla

Granada.

None of the pictures of the sample

is in the Andalusian capital

"It shows the painter as an artist

more complete, less unique and

more complex palette. The pain-

ter's vision beyond the joy to spend

the painter of melancholy, a con-

cept exemplified in Santiago Rusi-

ñol romantic and lonely gardens,"

explains Eduardo Quesada Gilder,

curator of the exhibition.

Among the paintings there are re-

creations of rooms of the Alham-

bra, corners of the gardens of the

Generalife and the Albaicin sunny

streets, the neighborhood that spills

down the slope that faces the pa-

lace.

"The importance of this selection is

that it shows the great view of Soro-

lla. Many are kept as the artist saw

them, but others have changed for

the worse and they are unrecogni-

zable," said the commissioner.

At the opening were political and

Esperanza Aguirre, Ana Botella and

José Torres Hurtado, Mayor of Gra-

nada.

"It captures the essence of Grana-

da in Sorolla's brushes," explained

the ruler of Granada.

Interestingly, none of the 46 pain-

tings by the artist on the Andalu-

sian city are in the Museum of Fine

Arts in the city.

All lie in the Museo Sorolla in Valen-

cia Museum and private collec-

tions, as well as the tables was the

family.

Miguel and Fabiola Lorente Sorolla

and are great grandchildren of the

Valencian painter, and both follow

the footsteps of his grandfather gi-

ving painting classes.

Upon entering the former home of

Sorolla in Madrid, both feel they

are "family, such as at home." "I re-

member when my grandmother

came with Elena and the museum

was a disaster.

We sat in the chairs in the studio

and spent the afternoon there,"

says Fabiola. Both are well aware

of his great-grandfather's work and

pass the old house painter in

Madrid often.

"Sorolla was a great painter, but

Granada was in landscape pain-

ting from the nineteenth century.

Moreover, since the musicians had

come Falla, Breton, Debussy ... Soro-

lla said Tárrega Grenada had a de-

af beauty, not very bright but very

deep, "explains Michael, who adds

that his grandfather" did not seek

the arabesque, but a more con-

temporary Granada. "

Both agree their favorite part of the

exhibition: the landscape of the Sie-

rra Nevada.

"There is a picture that impresses me

much, which is made from the Mira-

dor de San Nicolas. It's amazing

that view of the Alhambra with sno-

wy mountains behind," said Fabiola,

who comes once a month to the

museum to accompany friends in

the visit.

Michael, who has one of the pictu-

res of Sierra Nevada of his great

grandfather at home and not get

tired of looking at it, also likes the

"it's like an aerial view of the Albai-

cin," although "they are all beauti-

ful, with the same brush loose Soro-

lla feature. "

"The two sites which were my great-

grandfather liked to Javea and

Granada. Sorolla painting traveled

throughout Spain, but always went

because I wanted to Granada.

And that the pictures had no outlet

Granada, in fact everyone in the

museum at Unlike Javea, which

sold like hotcakes, "says Miguel.

In the temporary exhibition space is

dedicated to the Granada sources

sketches Sorolla then wanted to ta-

ke your garden, and two pictures of

the exterior of the museum, the ar-

tist set as your particular Generalife.

In addition, several windows are dis-

played Sorolla letters to his wife in

which he describes his fascination

with a grenade "precious." Valencia

was their land, Madrid and Grana-

da home, her lover.

Granada Sorolla. Sorolla Museum (Paseo

del General Martinez Campos, 37). From

October 4 to 22 February. Free tours Tues-

day through Saturday.

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Page 26

Sofa Chicago 2011.

From 4 to November 6 in Chica-

go held the eighteenth edition

of one of the most prestigious art

fairs in the world.

She attended numerous galle-

ries, representing an impressive

number of artists and exhibiting

their latest works.

This year attended by more than

60 international galleries.

On this occasion, for the second

consecutive year, SOFA CHICA-

GO share the Pier's Festival Hall

with The Intuit Show of Folk &

Outsider Art.

SOFA CHICAGO will have spe-

cial exhibits of famous museums,

universities and arts organiza-

tions as well as a wide range of

conferences, all included in the

ticket price.

Exposure of the Blue Rain Galle-

ry's work will be conducted join-

tly by the acclaimed artist Pres-

ton Singletary and Dante Mario-

ni (that individually have very

different styles and different).

The two share a long history,

having been classmates, and

when working together, combi-

ning their talents produce somet-

hing truly exceptional.

For the second consecutive year,

The Art Fair Company produces

The Intuit Show of Folk & Outsider

Art Fair in the same SOFA CHICA-

GO, due to the resounding suc-

cess of the fairs combined 2010.

The Intuit Show attends the same

time and with SOFA CHICAGO

2011 at the Festival Hall at Navy

Pier and again occurs in non-

profit group, Intuit: The Center for

Intuitive and Outsider Art.

The Intuit Show brings together

suppliers and galleries around the

country, self-taught art, outsider

art, art brut, ethnographic art,

non-traditional folk art and visio-

nary art.

All artwork is for sale.

Lecture presentations and special

exhibits are also planned for the

demonstration of Intuit and as

SOFA, Chicago with educational

programming.

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Page 27

Glass workshop in Murcia (V).

JIMENEZ PEDRO CASTILLO

JULIO NAVARRO PALAZÓN

JACQUES THIRIOT

HOUSE D

Abutted the southern flank of the

parapet and there is the possibili-

ty that its main entrance was al-

so in this impasse if, as I said be-

fore, the door that we identified

as Building C was in fact access

to the house (Fig. 3).

The only space we could dig up

to the north room, as usual, is

rectangular with alhanías at its

ends, must be open to the south,

for there must be placed in your

yard (Fig. 3).

The only bay we could dig, co-

rresponds to the north room, as

usual, is rectangular with alhan-

ías at its ends, must be open to

the south, for there must be pla-

ced in your yard (Plate 11) it was

impossible exhumed since the

farm was introduced under

which currently limits the solar

south.

The total width of the room is

3.06 m and 10.60 m length inclu-

ding both alhanías; had a floo-

ring of brick spicatum raphe in

very well preserved, similar to

that of the alhanías, whose

provision is usually somewhat hig-

her.

The walls separating the lounge

alhanías had a width of 50 cm,

its foundation and the base was

a piece of mud mortar while the

rest of the flat ground was mud.

At a later stage the jambs of the

opening of the Eastern alhanía

were reinforced with brick pillars.

The wall that enclosed the house

overlooking the front parapet

wall which was a solid founda-

tion and bottom mud were the

work of concrete while the rest

of his land would be raised, as is

usual in this architecture.

It should be noted the exceptio-

nal nature of the foundation,

which stands at -2.30 m above

the ground level of the room;

this is due to the depth and

proximity of the culvert that runs

along the parapet.

Before we discussed the building

D, partially invade the street, al-

most left his north wall adjacent

to the old culvert, whose fund

was at a depth of approximate-

ly -1.80 m above the floor of s.

XIII.

For the same reason, the wea-

kest point of the foundation, the

northwest corner, was reinforced

with a rope well squared blocks

and blight (Plate 1).

E AND G HOMES

These two adjacent houses se-

em to have a history that closely

interrelated, making it conve-

nient to discuss them together,

as we now turn.

House E

The knowledge of it we have is

very fragmented due to altera-

tions in the archaeological de-

posit caused the construction of

nineteenth-century mansion, se-

veral belts of foundation sec-

tions and installed in a pit south-

west corner and a great shoe

that served basis for the main

staircase.

Limited on the south side with

the parapet, on the west by the

glass workshop in the north with

the house F and east with hou-

sing G (Figs. 3 and 6, Plate 12).

He had a total area of 45.6 m2

approximately trapezoidal distri-

buted on a plot of 6 x 7.60 m.

All dividing walls have been pre-

served except the east, which

we know only its northern end

was of brick and almost devoid

of foundation, it is likely that the

smaller funds due to the house

before us and which we call G

were home the same property.

This hypothesis seems confirmed

by the wall that both buildings

have in common with the F cer-

tainly raised a work at once, wit-

hout interruption, and by con-

ducting in mud mortar, the same

factory that had the Western sha-

recropping.

The structure that separates the

parapet, however, is an adobe

building which is inner and outer

mud mortar.

This technique, a variant of cali-

castrado mud in which the mor-

tar savings to the greatest availa-

ble only in the most exposed side,

there is also documented in the

wall that closes the house by 6,

oeste8 Siyasa.

About internal distribution only

we have more data than provi-

ded by the remains of three

straps of foundation, one of

which may not correspond to the

same phase as the other two.

It seems clear, in any case, we

are facing a typical Andalusian

central courtyard residence with

two or three bays around.

It had a bay north of 6 x 2 m wi-

de, which occupied the entire

front of the parcel was separated

from what must have been the

courtyard of a mud wall with

mortar foundation that included

numerous medium-sized stones

and had an approximately 20

cm rezarpa boot.

Nothing we know of his or her flat

pavement, but the foundation

has on top of brick work, the re-

sult probably of a repair.

Its size, its implementation across

the whole width of the plot and,

above all, its orientation at noon,

lead us to identify it as the main

hall.

Perpendicular to the southern

wall of the room starts another

belt to the south the same as be-

fore, although it lacks rezarpa

and shallower.

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Page 28

The Large Glass at the Reina Sofia.

Artists such as Marcel Duchamp,

Max Ernst, Salvador Dalí, Jean Tin-

guely, Joseph Cornell, Man Ray

and Roberto Matta said fans of the

work of the poet, playwright and

novelist Raymond Roussel. With

over 300 pieces (paintings, photo-

graphs, sculptures, installations and

videos) the Reina Sofia Museum ex-

amines the influence of the French

writer in the twentieth century aest-

hetic paradigms.

The director of the Reina Sofia Mu-

seum, Manuel Borja-Villel, this show

is a "claim" Raymond Roussel whom

he describes as a Locus solus of lite-

rature, which always appears in an

"underground" or subtle and whose

work sets up a " cabinet of curiosi-

ties or wonders. " Borja-Villel has cu-

rated the exhibition along with Fer-

nandes and François Piron.

The exhibition begins with the work

of Jacques Carelman Le Diamant

(Diamond), a large format sculptu-

re inspired by an episode of Locus

Solus, rarely exposed previously

and has been restored for the oc-

casion.

Then, paintings, photographs,

sculptures, installations and videos,

plus numerous books, documents,

periodicals and manuscripts, will

show the strong impression he had

on some movements Roussel art,

especially surrealism.

In this sense, the exhibition high-

lights how passionately defended

surreal work of Russell who called

the "great magnetizer" of modern

times.

Raymond Roussel (Paris, 1877 - Pa-

lermo, 1933) was born into a wealt-

hy family of the gentry, educated,

cultured and nostalgic. Thus the

first exhibition hall located at Ray-

mond Roussel in context through

extensive paperwork and several

photographs, mostly from the Bi-

bliothèque Nationale de France,

and tell his childhood, his youth, his

family ties and interests and obses-

sions.

Then a section entitled the Idols

heading displays a cosmogony of

the characters deeper impression

on the imagination of Roussel: wri-

ters Jules Verne and Victor Hugo,

Victorien Sardou playwright and

astronomer, inventor and writer

Camille Flammarion. In this space

on the Idols are displayed first edi-

tions and manuscripts of the aut-

hors cited, and three drawings of

Victor Hugo.

One of the most curious is the cos-

mic star. This is a star-shaped coo-

kie that Flammarion gave the

writer on one occasion. The star,

who Roussel kept in a box of glass

and silver in the same way, accom-

panied by an explanatory label

commemorating the event, was

lost after his death. It was found by

Dora Maar years later.

Under his influence on the Surrea-

lists, noting numerous works of Sal-

vador Dalí, among which Endless

Enigma (1938) or Lilith - Hommage à

Raymond Roussel (Lilith - Homage

to Raymond Roussel, 1966), several

collage by Max Ernst and four of

the series La femme 100 têtes (The

female / one hundred heads, 1929),

Goethe et la Metamorphose des

Plantes (Goethe and the Meta-

morphosis of Plants, 1940), André

Masson. Also mention the action

figures Man Ray or Lienz Locus Solus

(1941-42), Roberto Matta.

Following the line of influences that

Roussel had on key artists of the

avant garde, the tour of the exhibi-

tion space devoted to Marcel Du-

champ. As François Piron, curator of

the exhibition, from the forties Du-

champ assert publicly on numerous

occasions how important it was

Roussel for his work.

You can see the French creator fa-

mous works such as The Large Glass

or works coming from important co-

llections, such as Coffee Mill

(Coffee Grinder, 1911), the Tate

Modern; Trébuchet (Hanger, 1917),

Muze given by ' on Yisrael in Jerusa-

lem, or the part of Richard Hamilton

in 1971 from Duchamp, Sieve

(Sieve, 1971), part of the Museum's

collection.

As Roussel was a great passion to

travel, the exhibition will also stop in

this artistic discipline where you will

be manuscripts, first editions and

prints inspired by Roussel's theatrical

productions, as well as representa-

tions that marked him: the adapta-

tion of Tosca, by Victorien Sardou,

represented by Alphonse Mucha in

a promotional poster is an example.

Also on display testimonies, images

and texts, the many trips he made.

In 1920 he toured the world, in imi-

tation of Jules Verne character, Phi-

leas Fogg.

He made four trips exotic and often

toured the European continent. His

death occurred in Palermo, just one

of those trips. Ensures that he sought

inspiration in them and that their

purpose was purely "literary docu-

mentation."

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Page 29

Art and Artificial Life Competition.

The jury LIFE 13.2 of the Telefónica

Foundation has awarded an hono-

rable mention to the work

"Transducers" by German artist Ve-

rena Friedrich.

This facility, which mimics the ma-

chinery and procedures for bios-

cience research, consists of a set of

devices fabricated as tubular glass

and suspended vertically to eye

level, a rod-shaped structure that

provides them with metal energy.

The nuclear component of each of

the glass tubes, arranged so that

viewers can move between them

and experience them from all an-

gles, is a single human hair.

Each of the "Transducer" glass also

contains a set of tiny mechanical

devices consisting of a trigger and

a reader manufactured from cus-

tom printed circuit boards and

electronic components fitted and

the means to produce a vibratory

response audible reading based on

capillary DNA.

Biological specimens and genera-

ted a soundscape in which, to wan-

der between the transducers, are

heard only vibrations that contribu-

te to this unique polyphony of

human hair.

Visitors can give their own coded

samples for future exhibitions and

record the donation in a searcha-

ble archive.

In this pseudo-aesthetic mantra, li-

terally the hair is manipulated as a

repository of identity.

The system works metaphorically in

several interrelated levels, combi-

ning orthodox metrics cleanroom

laboratory with the mysticism of reli-

gious shrines house sacred relics,

and the hum of the machines per-

fectly conveys the fragile precise

uniqueness of human remains .

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Page 30

Tree of life.

PROJECT

Trees of Life

Glaziers Artists Group of Curitiba

2011

OBJECTIVES

- To spread the concept of sus-

tainability through processing,

recycling and reuse of materials

such as glass.

- Working to raise awareness

about conscious consumption;

- Spread the glass art and artists

potential Curitiba.

DESCRIPTIVE MEMORIAL

Our proposal is to plant a tree

with the intention to remember

the need for sustainable projects

in the world.

Each tree will have design ele-

ments of each specific project.

BACKGROUND

Environment:

The reuse of glass, where the

percentage of recycled mate-

rial in the country, Brazil - curren-

tly accounts for only 40%

(ABIVIDRO).

Cultural:

Develop artists and art glass,

add value to the institution, and

supporter of the city.

MEMBERS

1. LOIRE NISSEN

2. DESIREE SESSEGOLO

3. THEREZINHA AMARAL

4. SILVANE BURKOT

5. SELENE CALAFANGE

6. EUGENIO FERENC

7. SOELI FERENC

8. MARIZE SABOIA

9. ELIANE CHICHOF

10. LUCI REGIS

11. DENISE NISSEN

12. CELINA MARCONDES

13. DIVANE DARIM

14. REGINA LAGANA

15. FATIMA GOULART

SOME EVENTS

2009 - Institute Exposição not Mo-

kiti Okada Coletiva Fenavid Rio

de Janeiro

2010 - Eko Glass - SESC São Paulo

Água Verde Fenavid

2011 - Casa Cor FIEP Fevavid Flo-

rianópolis

TREE OF LIFE - PLANTS

- FIEP - Federação das Industrias

do Estado do Paraná / PR - 2011

- Fenavid-Feira Nacional do Vi-

dro - Florianópolis / SC - Brazil -

2011

Some media reports TRANSMIT-

TED

http://www.guiasjp.com/

opcoes.php?

op-

tion=5&pubb=&tela=1152x864&o

ption=5&id_noticia=25409&id_ca

n to = 45

(Http://

www.mosaiconarede.com.br/

noticias.php)

http://

bebelritz-

mann.blogspot.com/2009/10/

eko-glass-lanca-colecao-2009-

de.html

http://

www.arteilimitada.com.br/

desta-

ques_2009+exposicao+vidros+cu

ritiba+mokiti+okada

. Htm http://

mediacenter.clicrbs.com.br/

rbstvsc-player/47/player/191440/

bom-dia-sc-23-

06-2011/1/index.htm

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Page 31

How does.

This month we include some pictures of the technique practiced by Paco Ramos in his workshop Vimbodí

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Page 32

IV Luso-Spanish Congress of Ceramics and Glass.

Portuguese and Spanish Society of

Ceramics and Glass, announce the

celebration of the Fourth Congress

of Luso-Spanish Ceramics and Glass

(ivclecv.web.ua.pt), to be held at

the University of Aveiro 16 to No-

vember 18, 2011.

Since the last Luso-Spanish Con-

gress of Ceramics and Glass (1988,

Leiria), both communities have se-

en significant developments that

have resulted in the creation of

new research centers linked to the

areas of ceramics and glass and a

large expansion respective indus-

trial sectors.

This economic crisis is seriously af-

fecting these sectors, in particular,

more related to construction activi-

ty, which calls for a critical analysis

of the situation and progress in the

areas of research and technologi-

cal innovation for the development

industrial products with higher ad-

ded value and unique way to mini-

mize the effects of the crisis.

And vitreous ceramic materials are

increasingly greater extent, associa-

ted with applications in areas such

as health, energy, transport and ot-

hers.

In parallel, the conditions associa-

ted with environmental and energy

issues, require an appreciation of

the role of rising raw materials and

associated issues such as recycling

of waste or the control of gaseous

emissions.

All these issues will be the prime in-

terest at meetings of the Luso-

Spanish Congress IV Ceramics and

Glass.

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Page 33

Vidriarte Course.

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Page 34

Glassblowing in Malta.

During a stay in Malta, one of the

most curious and fascinating vi-

sits that can be done is to Ta'Qali

Craft Centre, popularly known as

the town of artisans because

that gather the best professionals

in the traditional arts of the is-

lands and not only manufacture

products that supply the stores of

the city but they do live demons-

trations of glass blowing, for

example, to immortalize it with a

camera (hotels and tour opera-

tors are organizing).

Located in the hangars of the

former military airfield in the

northwest, the military base used

by the RAF aircraft during the Se-

cond World War (and now only

fly small aircraft model airplane,

if it persists Aviation Museum),

glass, ceramics, jewelers, wea-

vers and potters working in the

development of genuine

products which then seals the

Malta Crafts Council.

Dishes, vases, bowls, bottles and

glass figurines are one of the fa-

vorite tourist specialties when it

comes to buying a souvenir of

your trip because Maltese glass-

ware stands out for its beauty

and vivid color.

But above all, being made with

the ancient technique of blo-

wing, introduced in the archipe-

lago by the Phoenicians thou-

sands of years ago and turned

into industrial activity, although

family tradition most recently in

1968.

The technique of blow molding is

based on a glassy mass obtai-

ned by merging more than a

thousand degrees, from raw ma-

terials such as sand, limestone,

soda and pigments, among ot-

hers.

A semi-liquid paste this practice

was a hole in which is inserted a

hollow tube that will help the

master craftsman and go blow

swollen the desired shape is

achieved with the help of exter-

nal tools.

And you can witness, duly pro-

tected by a glass partition, in a

few minutes, as if by magic, an

incandescent mass will be trans-

formed into a work of crafts-

manship.

It is difficult to Ta'Qali it almost

certainly will catch on the way to

Mdina. It's a couple of miles of it,

on the road to Rabat.

But Ta'Qali Crafts Center is not

the only, find one in Ta'Dbiegi, on

the outskirts of Gharb (Gozo), gi-

ven the existing demand from

the start of exports in 1970.

Hilton customer, for example.

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Page 35

Glass Staircase Glass Tower.

Bellapart was the company res-

ponsible for the construction and

installation of the glass staircase

located in the lobby of the new

headquarters of Mutua Madrile-

ña in the Crystal Tower building

located at Paseo de la Castella-

na in Madrid, skyscraper desig-

ned by the prestigious architect

Cesar Pelli of Pelli Clarke Pelli and

Leo Ortiz.

This is a spectacular glass stairca-

se 1816 mm. step width of 33

steps, including two intermediate

landings and a glass floor on the

first floor with dimensions of 3157

x 9060 mm., consisting of stainless

steel side rims support including

connections to the structure with

columns.

The treads and landings are ma-

de of multi laminated glass

12.12.12 colorless, with a glass

top Matelux Antislip (treatment

slip) SentryGlas Plus AGC of 1.52

mm. DuPont to the edges and

beveled edges.

In this glass has been applied

heat treatment necessary for the

absorption of the stresses in the

glass plate.

The stainless steel metal brackets

are specially designed for this

ladder and CNC machined for

fixing the glass steps to the rim

side of stainless steel with locking

caps, aviaries and high-strength

structural adhesives.

Handrails on both sides of the

ladder are also glass, made from

laminated tempered glass color-

less 12T +12 T HST with polished

edges and a 1.52 mm interlayer.

SentryGlas Plus.

The height of the rails is one me-

ter and are attached to the side

wheels with a special stainless

steel fasteners designed and

CNC machined.

Finally, the staircase is equipped

with a handrail along its length of

50 mm stainless steel. set higher

than the glass railings.

The glass floor on the first floor at

the end of the ladder has been

installed by a grid of stainless ste-

el girders and glass.

The attachment system of glass

and handrails is the same as that

used in the rest of the stairs.

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Page 36

Is the world's most expensive apartment?

165 million euros: an exclusive

home at One Hyde Park

(Knightsbridge, City of Westmins-

ter) in London (UK) located in a

building consisting of four towers

covered with 14,000 square me-

ters of triple glazing with coated

glass for solar control perfect cli-

mate.

A luxury neighborhood's best res-

taurants, exclusive boutiques

and now, perhaps the world's

most expensive apartment, One

Hyde Park.

The 14-storey building, opened in

the spring of 2011, is a complex

of four interconnected towers

designed by architect Richard

Rogers of Rogers Stirk Harbour +

Partners.

The people of the penthouses

will enjoy spectacular views of

the city of London and Hyde

Park thanks to large window are-

as in each room.

To ensure transparency totally

neutral, as well as thermal insula-

tion in the winter and sun in sum-

mer, the choice is a triple glass

glazing.

Interpane was commissioned to

provide for construction of 14,000

square meters iPlus E insulating

glass with glass solar control layer

ipasol Neutral 61/33.

One Hyde Park enjoys a privile-

ged position, with Hyde Park on

one side and Knightsbride on the

other.

Hyde Park, the best known of the

eight "Royal Parks", covers an

area of 1.4 square kilometers

and is one of the most beloved

sites both Londoners and tourists.

The lake is perfect for swimming

or paddling, and you can even

fish with a special permit.

If you prefer dry land activities,

there are facilities for horseback

riding or bowling, or just have a

picnic on the grass.

Also in this area are the most ex-

clusive stores like Harrods, Harvey

Nichols or Prada, the best restau-

rants and clubs and trendy bars,

and even Buckingham Palace is

less than a mile.

The apartments also have a 5

star room service 24 hours a day

by the Mandarin-Oriental Hotel.

Glass with unique architecture

ipasol neutral.

Four towers of between 10 and

14 floors linked by stairs and lifts

glass, with a private under-

ground parking and 84 luxury

apartments including four pent-

houses.

The story more "affordable" cost

6.4 million euros and the most ex-

pensive reaching up to 165 mi-

llion euros.

The most exclusive of all has two

levels, seven rooms and a total

area of 2,700 square meters, plus

360-degree views of Hyde Park

and London.

Highly neutral glasses allow us to

observe the bustle of the streets,

while the performance of solar

control ipasol 61/33 stays prevent

overheating in summer, reducing

air conditioning costs without

having to give up a lot of natural

light.

In cold weather, the low value of

tripre Ug iplus E glazing layers

provides high thermal insulation.

Thus, the energy properties of the

facade reduce energy con-

sumption and help protect the

environment.

Residents are equally well pro-

tected, since the facade and

windows are explosion proof and

bullets, the elevators are activa-

ted by control retina, the security

staff was specially trained by the

Special Air Service (SAS) and

apartments There is more exclusi-

ve panic room for protection

from possible intruders.

Richard Rogers, whose architec-

tural firm designed the building,

was awarded the Pritzker Archi-

tecture in 2007.

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Page 37

Castillo de San José de

Valderas.

Avda. Los Castillos, s/n

28925 ALCORCÓN

MADRID

Nuestro Boletín tiene su

redacción en:

Al vidrio por la cultura

The Association of Friends of MAVA was incorporated on Ju-ne 21, 2003 in accordance with

existing management.

The purpose of this Association is to promote, encourage and

support many cultural activities in the broadest terms, are rela-ted to the mission and activities of the Glass Art Museum of Al-

corcon.

Our goal is to develop and co-llaborate with other public or pri-vate entities to promote, protect and promote the art and culture. Our members may be fees, be-

nefactors, Full and juveniles.

www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Teresa Fernández Romojaro

Tesorera

Mª Angeles Cañas Santos

Vocales

Rosa García Montemayor

Evangelina del Poyo

Diego Martín García

Francisco Martín García

Mª Luisa Martínez García.

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Page 38

Tecniques. Images (I).

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Figure I Figure II

Figure III Figure IV

Figure V Figure VI

Page 39

Tecniques. Images (II).

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Figure VII Figure VIII

Figure IX Figure X Figure XI

Figure XII

Page 40

Glass Workshop. Images.

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Fig. 3

Plate 11

Plate 1

Fig. 6

Plate 12

Page 41

Roll Up in Azuqueca de Henares. Images (I).

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Page 42

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Roll Up in Azuqueca de Henares. Images (II).

Page 43

Biennal of Glass Strasburg. Images (I).

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Joan Crous

Littelton

Libensky

Gasch-Muche Breed

Cigler Leperlier

Biennal of Glass Strasburg. Images (II).

Page 44

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Farcama 2011. Images.

Page 45

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Vesa Varrela. Images.

Page 46

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