Feb17gb

Volume II — Number 96

February 2017

Monthly Newsletter

Newsletter

Petr Stacho  Special Visits.

This new year has begun for us with a good rest period in the Murcia landscapes of La Manga del Mar Menor.

We have enjoyed some splendid days and a very gratifying mental and emotional tranquility.

But, in addition, we have been able to enjoy three glass meetings that we have found very interesting.

The first one was very much wanted by us because we had long been in mind and we had not been able to enjoy it until now.

I am referring to the visit we have made to the MUVI of Cartagena.

Nuestra sede: Castillo Grande de S.J. de Valderas Avda. Los Castillos, s/n 28925 ALCORCÓN. (MADRID)

The Glass Museum of Santa Lucía has had several spaces in this Bulletin, because we have been interested in the news that have been coming out in different media about different aspects of its development.

Already in the Bulletin corresponding to the month of May 2009 we echoed the news that referred to the info@amigosmava.org project of the construction of the Museum itself.

For our interest in knowing the Museum and for chatting with its promoters

M. A. Carretero.

Manuel Gil and Carlos Calabria the visit was very desired by us.

in his way of understanding art in glass and his concern in investigating different systems to work this We refer to this visit on page beautiful material.

5 of this Bulletin.

We met him in the month of The second meeting was March 2010 when we made quite fortuitous, as we did our first visit to his workshop. not know the great master of engraving and Jose Reina, After several times we have but when visiting the had the pleasure of seeing Christmas Craft Fair in him again.

Murcia and comment on the stand of Opal Taller Vidriero As we explain on page 7 of this Bulletin when referring to with Carmen and Barti the this last visit, we were existence Of other glassmakers at the Fair, told worried about the discouragement that we us that we could not go without a visit to Jose Reina, thought we appreciated in him at a certain moment and that we did. towards the glass issues, an We were surprised by this appreciation that in this last great teacher for the years of visit we have totally experience he has on his excluded. shoulders and for his great To Ismael Cerezo, Flyppy, mastery of the different we would also have liked to stained glass techniques, pay him a visit and with that especially engraving and encouragement we sent him carving. an email in the beginning of In addition, his contribution December announcing our to the world of artistic glass visit to Murcia, but we through the courses he has estimate that his various taught at the Royal Glass obligations on Christmas Factory of La Granja is dates that demand to be in admirable. several places to the same Time have not made the Therefore, this visit to his meeting possible and we Fair stand was short and we have had to settle for the thought that we could not visit we made to his leave Murcia without a visit exhibition at the Gallery in his workshop, in his own Chys de Murcia, visit to sauce. And so we did taking which we refer in our Bulletin advantage of our trip back last January. from vacation.

In another order of things, We refer to this visit on page the publication of number 6 of this Bulletin.

100 of our Bulletin is approaching, and we would On the third visit we also took advantage of our return like the different components of the glass world of our trip and made a stop in country to collaborate with us Albacete to stay with Luis in the realization of a special Machí in his workshop. number to commemorate This glass artist has always said event. had for us a special interest

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Important issue: INTELLECTUAL PROPERTY LAW (LIXI) MAC.

Volume II — Number 96

February 2017

S PE C I A L I NT E R E S T:

Intellectual Property Law

transients of the Civil Code.

Transitory dispositions.

In what is not provided for in these provisions, the transitional provisions of the Civil Code will apply.



Part of the month



Visit to MUVI



Visit to José Reina



Visit to Luis Machí

Thirteenth.



Activities on the MAVA



News



Our activities



Glass recycling



How does

... national provisions on intellectual property rights, or that meet the criteria to qualify for protection in accordance with the provisions that regulate in this Law the right of distribution, as it relates to works and benefits, as well as rights of Fixation, reproduction and communication to the public, insofar as they relate to benefits.

CONTENIDO:

Piece of the month

3

Established artists

4

Young artists

4

Visit to MUVI

5

Visit to José Reina

6

Visit to Luis Machí

7

Activities Museums

8

Activities on the MAVA

11

Fourteenth.

Karina del Savio

12

Application of

Venetian glass

13

Conservation / restoration 14 Glass in Córdoba

15

Roman glass in Museums

16

News

17

Culture 2017

17

The Palace of Monterrey

18

Relic of the Stasi

18

The glass in museums

19

Recycling

20

Cultural visits

21

Culture 2017 program

21

Exhibition at La Granja

22

Other trends

23

Fifteenth.

Application of the protection provided for in Book I to databases completed before 1 January 1998.

by copyright.

Sixteenth.

Application of the protection provided for in Book II as regards the sui generis right to databases completed within the fifteen years preceding 1 January 1998

1. The protection provided for in Article 133 of this Law, as far as the sui generis right is The protection provided concerned, shall also for in this Law, as far as apply to databases copyright is concerned, whose manufacture has shall also apply to been completed during databases finalized the fifteen years before January 1, 1998, preceding 1 January provided that they 1998 provided That meet comply with the on that date the requirements of this requirements required in Law in respect of The article 133 of this Law. protection of databases

URGENT NEWS 

A jewel in the Chinese landscape.

The glass windows of Auch 24 Glass Spying

25

New strategy

26

Replacing the window

27

Young researchers

28

How do

29

Glass parts

30

Moroccan glass

31

Jewelry shop

32

Alfa Gold Awards

33

The bottle of Klein

34

Obsidian Mines

35

Orfeo Quagliata

36

Building of 4,800 m.

37

Mosaic Recovery

38

Cité du Vin in Bordeaux

39

Board Of Directors

40

North of Beijing lies the Sunrise Kempinski resort on Lake Yanqi, in this 14 square mile resort lies the jewel of this attractive place.

right angle so that the lower floors reflect the water of the lake, the middle floors reflect the surrounding mountains and the upper floors reflect the sky during all year.

The architectural work stands on the shores of the lake and is This jewel was developed in entirely lined with mirrored just 24 months. glass panels arranged at the

No response from the Department of Culture. 

17-01-13. Requesting inventory of the components of the permanent collection of MAVA.



11-06-13. Possibility of receipt by the MAVA documentation on glass offered by the President of the Spanish Association of Science.



11-11-13. Requesting information on the agreement with the Community of Madrid to install social services in the MAVA.

www.amigosmava.org

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Piece of the month. Meritxell Tembleque.

February 2017

Writing becomes a personal diary that we can all read, but can hardly be deciphered: the overlapping of sentences renders it difficult or impossible to read.

Volume II — Number 96

The technique used, among others, is "glassfusion". The pieces are made from glass plates that cut into multiple layers following the shape of what they want to do.

Meritxell was born in Barcelona in 1970 and Quím, his partner, was born in Ripoll in 1966.

and the 2nd prize in the 26th international design contest Expohogar.

They say: "We are She studied ceramics interested in Creativity. and glass arts in Especially if it does not Barcelona, he sculpture fall into nominalist and glass arts also in debates; Art, Crafts, Barcelona.

Design? At this junction is where we feel most The two had a scholarship to go to study comfortable. We have made glass our trade and sculptural techniques in a means for research and glass in the Czech Republic, in the workshop plastic expression. We seek to deepen the of the sculptor Jaroslav poetics of materials, Wasserbauer. balance the conceptual The two set up a load and the technical workshop together in invoice ".

1999 in Barcelona. They are part of the movement The sculptures of Quim and Txell are the result of called New Glass. the combination of forms, They have held writing and exhibitions and biennials transparencies. in Spain, Mexico, It impacts their use of Denmark and Japan. writing. They write Some prizes that have phrases and words inside obtained among others the glass, composing are: ARTFAD de Plata calligraphy that gives the 2006 in the professional sensation of being category in Barcelona suspended in the space. www.amigosmava.org

They write on these layers with grisalla, they place all the layers stacked inside a mold that they have done previously with the form that they are interested to obtain and they melt it inside an electric furnace.

The result is that all layers become a single volume of glass, which can then work in cold: cutting, molding, polishing ...

The technical challenge is to melt the glass without the writing and layers mixing. This overlay of writing layers is an overlay of memories and experiences: a travel notebook where text and piece are intimately connected.

The piece that we now catalog as "piece of the month" corresponds to the exhibition presented by the MAVA at the end of 2012 and is entitled "Part of nothing".

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Established artists. Petr Stacho.

Our web

Volume II — Number 96

February 2017

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Petr Stacho is an artist in glass and painter of Czech origin born in 1965 in the city of Usti nad Labem, in the north of Bohemia.

Work (1980- 1984), Preservation of Monuments at Mlada Boleslav (1984 1985) and finally his higher education at the Academy of It is currently established in Arts, Architecture and Design the Czech city of Kamenický of Prague at Study of Work in Glass (1988-1994). Šenov, where the world's oldest school of glass work is He also received a located. scholarship from the Royal Academy of Fine Arts in Stacho obtained his education at the Kamenicky Gent, Belgium (1993).

In 2003 he was a founding member of the SME STAJAN group and worked as head of the glass cutting department at the Glass Work School in Kamenický Šenov since 2007.

He is currently director of the glass cutting and engraving department of That same school.

Senov High School of Glass

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Emerging artists. Elliot Walker.

Our web

working in this way requires extreme dexterity, speed and precise temperature control.

He chooses to sculpt glass primarily because of the immediacy and transparency of the material and the intensity of the sculptor's experience.

He was born in 1988 in Great Britain.

exclusively on figurative sculpture.

It is one of a set of glass blowers Molten glass sculpture is known as the Messello technique and in the world that focus

www.amigosmava.org

"The process itself is very challenging both physically and mentally.When you start a piece you have to see it all the way in a session.It is exposed to temperatures of over 1000 degrees and the process of getting a complex shape out of liquid glass Is different from working with any other material".

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Visit to MUVI in Cartagena.

Volume II — Number 96

February 2017

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On January 17th, we visited the Glass Museum of Santa Lucía in Cartagena.

Vivancos, son of Manuel Gil Angosto of the Riquelme family.

Since 1933, three generations of glass carvers have led the The bourgeois Tomás Valarino, association of glassmakers, who born in Cartagena in 1801, manage the museum, which is although his family came from Genoa, created in 1834 the glass owned by the municipality. and glass factory in the The building of the Museum is neighborhood of Santa Lucía. located next to the headquarters of the Federation of Associations To this file must be added the relief he gave when an epidemic of Neighbors, with an extension of 600 square meters spread of cholera affected the city and his status as senator and deputy over two floors, which house workshop and exhibition. to Cortes. For this reason he obtained high national The old factory won the Gold decorations.

Medals in the Madrid Exhibition of the Society of Friends of the The nobility title gave prestige Country in 1841 and the one of and influence to a person who the Universal Exhibition of was a pioneer of the glass industry in the context of a weak Barcelona in 1833 and the Honorable Mention of the Expo Spanish industrialization, a few of Paris celebrated in 1878. years before the mining boom, according to Professor Jose Other information that we read in Miguel Martínez Carrión, your panels are the different professor of History of the ways to proceed in the Economy of the University Of decoration of these beautiful Murcia. objects: carved or engraved, hand painted with brush, acid Next to the factories of earthenware of Cartagena gave etching or guilloché technique. reputation to the marine city and During the visit, we can see the work to four hundred people. evolution of the Asiatic cup, from This gave an identity around the the first, designed to drink glass and the glass to many vermouth (1908-1934), to the Cartagena, proud of having smooth Asian cup (1934-1945) ancestors among the guild. and to the present, from 1945 until now.

One of the current promoters of the Museum is Manuel Gil Next to the three is the mold owned by José Díaz, there is

www.amigosmava.org

also a 'liquor' of Liquor 43, another of Soberano, coffee beans and cinnamon in branch.

The closure of the factory was in 1955. Later, in 1985, the Sociedad Cooperativa Limitada de Vidrieros de Cartagena was established.

It was a pleasure to contemplate the plate and the bottle of Club Taurino (1911), orange juicers, spitters, vases, pharmacy bottles, vases, bomboneras and winemakers, among other objects.

Many of these pieces were donated by the family Angosto García-Vaso and the Riquelme.

Next to them are the new designs created by young glassmakers, closer to art than to handicraft, such as screens, lamps, ashtrays, vases and imagination flying in flies, a globero, abyssal fish made with recycled bottles of dive and Umbrella with drops, among others.

On Saturdays they light the oven so that all visitors can enjoy the demonstrations of young and intrepid artisans such as the aforementioned Manuel Gil, with Monica Elche and Carlos Calabria.

In the image that illustrates this article we can see our President along with Manuel Gil and Carlos Calabria.

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Visit to José Reina, in Murcia.

Volume II — Number 96

February 2017

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On the 10th of January we visited the workshop that the glass sculptor José Reina has in Murcia.

In previous days we had the opportunity to chat with him at his post at the Christmas Craft Fair in Murcia.

In this second visit he was teaching us the store, where we could enjoy an extensive sample of his achievements; His workshop, endowed with diverse machinery for the realization of his carvings and engravings; And the warehouse, with a huge assortment of stocks so that the wishes of its customers are not left unanswered.

Pepe Reina has the distinction of Master Craftsman granted by the Autonomous Community and is a renowned artist of glass.

To elaborate its works uses all type of glasses, between which they are the one of Bohemia, of Murano or the French glasses.

In addition, it applies various techniques, among which

stand out the carving, lathe in relief and sandblasted engraving.

where I've been teaching size classes. Czech teachers came to teach us their work, and from them I learned, thanks to According to an article that the General Directorate of saw the light through the Web Crafts and Commerce that site laopiniondemurcia.es, helped me pay for the course.

Pepe Reina, carver and owner Then I brought the teachers to of 'Cristania Reina', the Craft Fair of the Region for approached the office through a demonstration. With them I a neighbor who asked for help developed my artistic side. to clean glasses.

In what situation is the size in At age 17 his teacher left his Murcia? size, and his father bought the workshop to install it in his It practically exists for us, house. Now he has been because it has lost the classic working for more than 50 form of glassware, the dishes, years. which used to be sold a lot. In one month he sold 20 What does it take to be a glass glassworks. Today I sell one in carver? six months.

It requires certain qualities, Do you see a future in the such as a good sight, a good trade, with young people pulse, a lot of imagination and following these steps? creativity, as well as handling good writing. To get up every It is very difficult, a trade that day with great enthusiasm, to must pass from generation to improve and perfect the work. generation. I am a teacher of my three children who know What is the figure in which you how to carve and run my have encountered most company. People can come difficulty? and see how we work. Stores On the faces of people. It's like mine no longer exist in something I learned at the Spain.

Royal Farm Glass Factory,

www.amigosmava.org

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Visit to Luís Machí, in Albacete.

Volume II — Number 96

February 2017



Last January 10 we stopped on the way back from Murcia to visit the master glassmaker Luís Machí Gómez in his workshop in Albacete.

We really wanted to see him again after our meeting in 2012 at the Handicraft Fair in Albacete. On that occasion he left us very worried because we found him very disillusioned in his facet as a glass artist since the economic crisis had affected him full and was developing his activity by other routes.

This time we had a great joy because we saw him very hopeful in his return to the world of glass and in view of the new pieces he was performing.

We were remembering another of the visits that we made to his workshop in 2010 when he was still very excited about his work stained glass and its star product in the commercial field were glass sinks.

Now he confesses that he would not want to have to do those basins again, since it would be rather tedious for him.

Machí, according to his website, began his artistic

training in Barcelona in different disciplines such as graphic design, advertising illustration and animation.

Prize of Crafts 'Miguel de Cervantes'

The academic journey took him from Barcelona to Scotland, where he extended his studies in the Department of Glass of the School of Fine Arts of Edinburgh. He later completed his training in countries such as France, Mexico and the United States.

been awarded this distinction have been exposed in the recent edition of FITUR, specifically in the pavilion of the Community of Castilla-La Mancha.

In the past year 2016 received the First Prize of Crafts of After completing the studies of Castilla-La Mancha 'Miguel de Fine Arts at the University of Cervantes', in the category Barcelona, it was, however, his Product Award, awarded by the entrance into the school of the Ministry of Economy, Business Center of Glass Foundation and Employment of the which marked definitively the Community of Castilla-La direction of his artistic and Mancha. professional career.

The works for which they have

Since 1999 he has been working full glass in his workshop in Albacete, where he realizes pieces with almost all the existing techniques for the work of hot glass: from blown glass and Murano glass to blowpipe, fusing and thermoformed with flat glass.

These techniques apply to artistic pieces and lighting objects, exclusive washbasins and artistic stained glass, among others, that leave your hands.

www.amigosmava.org

In the image that illustrates this article appears the artist with our President and, as if a tribute to Velázquez was, reflected in the mirror of the bottom our Secretary in the moment to capture the image of this encounter.

We wish Luís Machí the greatest success in this new stage of his stained glasswork that is already being rewarded by the recent award that has been granted by the Community Board of CastillaLa Mancha.

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Activities Museums I.

Volume II — Number 96

February 2017

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Activities Museums II.

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February 2017

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Activities Museums III.

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February 2017

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www.amigosmava.org

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Activities on the MAVA. Exposition.

Volume II — Number 96

February 2017

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www.amigosmava.org

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Interview with Karina Del Savio.

Volume II — Number 96

February 2017

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Of apertura.com

convinced me," he recalls.

After starting in an art school in glass in Berazategui, Karina Del Savio managed to be crowned with the highest recognition in its category and sell works abroad and local personalities like Daniel Scioli and Osvaldo Bayer.

It was only in his 22 years, in 1992, that the closure of the Rigovisor plant - glass factory - sowed the opportunity of his life for Del Savio.

Karina Del Savio "eats the nails" of anxiety. At the end of January, like every year, a new edition of the New Glass Review, the publication of the Corning Museum of Glass in New York - a float of more than 45 thousand pieces of glass up to 14 thousand years old - will be published. To the 100 best glass artists in the world.

"My mother told me that in the place they were going to open a municipal art school, in honor of the artistic department that the company had developed, in which some local artists, figures of the belle epoque in the country, were going to make sculptures inside Of a Swedish house on the weekend, "explains the award-winning.

Contrary to the wishes of his father, owner of a Renault dealership in the area and who wanted his Argentina, from the southern part of daughter to dedicate himself to Buenos Aires, was part of that something "more profitable", Savio select list in its last two versions studied for three years different 2015 and 2016- and today it techniques to make glass recognizes that "it took the gustito". sculptures.

In a talk with Mujeres que hacer, the Argentine revealed how it was the process that led her to take an interest in this branch of the visual arts and spoke about her beginnings cleaning the furnace room of the school that scholarship.

46 years old, born in Quilmes in 1970, Del Savio comes from an Italian family who came to the country in 1951. And although at age 6 she was already taking drawing classes, the artist went through different schools to specialize in what is today Its category par excellence.

"I studied Theater and also Philosophy and Literature at the University of La Plata, but I ended up going back to my neighborhood, Berazategui, because nothing

"At the time I realized that I had something like that innate talent for that, and they hired me to work at the school as an assistant in the ovens room, where I did everything from sweeping to cleaning the ovens' plates" , Remembers the neighbor of the "national capital of glass", headquarters of companies of the sector as Pirex.

After his first years as an assistant came the awards and challenges.

The municipality scholarship to study in Spain and take courses with specialists from Italy and England, countries to which he then sold some of his works, which also became personalities of the local scene as former Vice President Daniel Scioli and writer Osvaldo Bayer.

www.amigosmava.org

Prior to this, his creations spent six consecutive years -2005 to 2010for different editions of SOFA, the exhibition of design objects based in New York, Chicago and Santa Fe. Outside of the artistic circuit, Del Savio made coatings designs for Barugel Azulay and today, in addition to making decorative decoration lines and sushi plates, he is in charge of dressing paliers of buildings with his works.

"In the country there is no market for glass sculptures, but outside there is; There prices can start from US $ 2 thousand and reach US $ 300 thousand, although mine does not exceed US $ 5 thousand, "he says.

To make her pieces, the artist makes a model in wax that when dried becomes rigid and is coated with another material.

"Then, after applying steam, the wax disappears, leaving a hollow that works as a negative form to be filled with glass," he synthesizes.

In turn, he adds: "Large sculptures can take up to 72 days of furnace and a long time of very slow cooling."

On the possibilities of doing this type of art in the country, he comments: "The glass we use comes from the United States, it is expensive and difficult to obtain.

Although there is now a center in Uruguay that imports it and brings it closer, it is still expensive. That's why, the merit of the Argentine artists that we dedicate ourselves to this is that even with difficulties, we reach the highest ".

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After the beauty of Venetian glass (and VII).

Volume II — Number 96

February 2017



Alejandro Ipiña.

say it is." Well, that.

posing his work. All of them This is an eternal discussion: In the absence of that detector, appear in that ladder provided what is and what is not art, everyone must decide on their by Artfacts. where borders are. own and Artfacts or similar by It is worthwhile to visit the all.

Venini store in Murano, La As I do not have a kind of metal detector that shows me In Artfact you can see how the Stanze del Vetro on San Giorgio island, visit the Glass where the art is, I point to what quote of the artists evolves.

Tea in Sugimoto or in the Chucho Reyes said, a peculiar In it appears a Jeff Koons that Franchetti Palace, the base of Mexican antiquarian that is a real merchandise, just like the Berengo exhibitions. wrapped the pieces that he a brand, that a company. sold on tissue paper with When you look at the catalogs For some it is art what it does, roosters painted by him, in you are editing you can see for others it is not.

You may Mexican colors. that they work in the same like a lot more a beautiful direction, they look for His clients carefully removed watercolor that makes a friend excellence, and they can the packaging and framed it. of yours and that as much you compete in fairs like ArtBasel They called him the Mexican are invited to a beer by her. or Friezze, with the best Chagall. Chucho Reyes But Jeff Koons is paid scare galleries and the most advised Luis Barragan, the figures for polished tulips that demanding auctions. architect, in the search of the look like balloons from colors for his buildings. It can That's what started people like barracks or by vacuum be said that he did not paint a Paolo Venini, a lawyer who cleaners placed one on top of wall without the approval of ended up designing pieces in another.

Life is cruel to his Reyes. glass, hand in hand with the friend and he smiles at the great Scarpa.

This antiquarian was asked affected Koons. one day in an interview what In fact, the Phoenicians who To my lay understand many of things were beautiful and he carried their goods throughout the pieces designed by the replied: the Mediterranean started Finns or Venetians are of a much earlier.

"The ones I like." spectacular beauty.

These Venetians today do the "And what does he like?"

So are many of the works same, but the Mediterranean "What is beautiful." signed by the artists who have has been small. They go for it participated in the project that Grayson Perry, an artist who all. leads Berengo. But I believe occasionally becomes an the latter offer something original doll: "This is art more: the risk of the artist in because I am an artist and I

www.amigosmava.org

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Ethics in conservation-restoration (and VII).

Volume II — Number 96

February 2017

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By Fernando Cortés Pizano.

particular group, or even to a These classifications exist and single person, who could be undoubtedly affect some of the precisely who pays our work.

Let us not forget that we not decisions of our work. only restore the various In this sense, Article 7 of the materials of a work but also its ECCO Code of Ethics states: values, meanings and "The Conservator-Restorer meanings, its concept and its must work at the best level message. regardless of any opinion regarding the commercial value In the same way the questions of taste and fashion can of the cultural heritage. While undoubtedly interfere in our circumstances may limit the professional activity. scope of action by Conservatives-Restorers, Capable of admitting it or not, respect for the Code should be these factors are certainly maintained. " present in our work and many This brings us to the subject of of our decisions are guided by our personal inclinations in the possible emotional bond fashion and taste as well as by that we can develop with a our emotions. certain work and if this link affects us the time to intervene Likewise, those who make on it. decisions about what to catalog and inventory, what One can not ignore the role that our personal valuation of a information to disseminate, or work could play in our work. Or, the amount of money to be invested in research, if for emotional reasons and conservation, restoration, or symbolic values, such work training, are deeply affected by could be considered as very the fashions and tastes of valuable and important by its Time in which we live. owner or by a certain community.

During the restoration process we will, whether we want or not, respect these considerations and take them into account.

What we can consider a poor quality work could be very valuable and dear to a

to the perception we have of that object. Conservationrestoration is a subjective activity and therefore we can not be completely objective, dispassionate and disinterested when we restore any object.

Finally, it is also important to point out that many of the decisions we make in our work are strongly influenced by economic and political factors.

The cuts in investments in heritage and in its conservation and restoration, as well as the decisions of which works are priority, are undoubtedly decisions tinged of economic and political character.

The article that we have been including in this Bulletin constitutes for the most part an adaptation of another article of the same author, revised, abbreviated, translated from English and with the title of Some thoughts on the ethics of stained glass conservation, Scientific theories of appeared in The Journal of conservation-restoration have Stained Glass, vol. XXXVII, eradicated the notions of taste London, 2013, pp. 5-20 and of our profession for many later in the magazine PH, decades. And yet, inevitably, Andalusian Institute of we are totally permeable to the Historical Heritage, nº 86, culture in which we live, and October 2014, pp. 152-157. there is nothing wrong with it.

The way we choose to restore an object in general, is related

www.amigosmava.org

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The art of glass in Cordoba.

Volume II — Number 96

February 2017

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The parish of Santa María de la Iglesia, in the heart of the Santa Rosa neighborhood, has a decorative element unknown to many people in Cordoba.

It is an original stained glass, about 25 meters long, made in the midtwentieth century by the artist Antonio Povedano.

The passage of time has only confirmed the size of this artistic ensemble, as it is the longest stained glass in all of Europe, occupying the entire side of the church that is next to the residence of the sisters of Mary Immaculate .

The construction of the temple, devised in the midfifties by the architect Cordovan Rafael de la Hoz, contemplated from the beginning this important decorative game.

For its realization, Povedano used thousands of glasses of colors that

conform a unique architectural space.

twelve doves representing the apostles or the book of wisdom of Solomon are also symbolically integrated in this impressive artistic work that has the Virgin as the backbone.

In addition, although each of these elements has a certain color, the artist applied a layer of molten glass molten on certain fragments in order to settle In spite of its enormous their chromatic qualities. dimensions, the stained glass window maintains a A piece with great global discourse, where symbolism each of the modules that The glass, structured in integrate it maintains seven panels composed of relation with the previous four modules full of great one. symbolism, represents the Povedano achieved this litanies of the Virgin. union thanks to the Thus, in the work can be chromatic connection that observed multiple quotes allow blue and white, as to this litanies such as well as with elements that "Mother without jump from one window to corruption", figure another. represented through two Half a century after its wings of pigeon and a lily execution, the stainedor "Faithful Mother", glass window of the parish represented through a of Santa María de la Iglesia crow, a bird of the That remains unchanged over begins to speak in Century time and stands as one of IV and that after losing to the great works that the its pair does not return to artist Antonio Povedano nest. bequeathed to the artistic The fish and the sea, the heritage of the city of cross and the thorns, Cordoba.

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The Roman glass in museums in Madrid (XXIV).

Volume II — Number 96

February 2017



Eduardo Alonso Cereza

The main colors are blue In all these workshops there and dark violet, but also appear green, white, yellow have been abundant and brown. manufacturing wastes.

The workshop of Lisht corresponds to the period ramesida (XIX-XX dynasties). It is located in a house in the neighborhood built around the pyramid of Amenemete I. The importance of this workshop is due to the fact that it is a private workshop.

Throughout the excavations carried out in Lisht by the Metropolitan Museum have been found: masses of coarse colored glass, frit plates, various crucible fragments, terracotta conical supports for crucibles and for finished objects, waste, blue or Green, charcoal, glass bars of various colors and fragments of polychrome vessels, several with part of the core employed deposited in the bottoms.

the best raw materials.

Cobalt was also used to decorate blue-tinted ceramics.

This raw material, which was used as a dye during the New Empire in fayence, glass and ceramics, originates from the oases of Kharga and Dakhla, and will be different from the one used in the first After the chemical analyzes millennium, similar to the Mesopotamian cobalt , Of carried out on the glass produced in Lisht it has been Iranian origin, stripped of magnesium, zinc and nickel. demonstrated that the production in the workshop According to Newberry in of Malqata has more amount Upper Egypt, south of of soda and potassium, and Menshiyeh, between Girgeh less of calcium; Also that the and Akhmin, there was blue glass of Lisht is colored another contemporary glass with copper while that of factory to that of Lisht.

Amarna and Malqata is with Newberry could only take cobalt. several fragments and some glass bars.

This is because the Listh workshop has a private The workshop is difficult to character compared to those study due to its plundering of Amarna and Malqata that and subsequent sale of the have a real character that pieces in Luxor. allows them to produce with The fragments found show that in this workshop they made both glasses with wire decoration and monochrome glasses with yellow, white or blue and white border.

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Volume II — Number 96

February 2017



N E W S (I).

 Recycle your light bulbs. add a spice in each bulb to have them perfectly arranged in a very original way.

Make a terrarium or a small aquarium in which you can even put a small fish to brighten the living room.

If instead of water, is filled with alcohol or vegetable oil and you put a wick, we will have a lamp of the most original.

Incandescent bulbs are being replaced by low-energy bulbs.

Instead of throwing them can be used to decorate the home.

Once empty you can add water or soil and the favorite flower or plant in miniature. It will look beautiful on any shelf.

Separate the thread from the glass and remove the filament.

Jars to organize the spices, once the bulb is empty and clean just



Empty the bulb, fill it with water, place it on a pretty napkin and decorate it with a flower. The guests will fall in love with the detail.

Culture 2017.

Last January we visited the Sorolla Museum to see the exhibition "Sorolla in Paris".

large solo exhibition at the Georges Petit Gallery in Paris in 1906.

character to the experiments of light and color in the sea.

Prior to his arrival at the An exhibition that traces the It tells the story of this Sorolla Museum, the history of international triumph through the paintings exhibition was shown at the recognition of Sorolla, from that mark the milestones of Kunsthalle in Munich (March his first trip to Paris, only his international career.

4 - July 3, 2016) and the twenty-three years, to his Musée des In parallel, the evolution of triumph in the great Impressionnismes de the painter is discovered, collective exhibitions and his Giverny (July 14 - November from his first works of social definitive consecration in his 6, 2016).

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February 2017

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

N E W S (II).



Restoration of the Monterrey Palace. the Quarry Palace.

"It is one of the most serious attacks," said the specialist, who was director of INAH in Nuevo Leon for 20 years.

He pointed out that the stained glass windows of the Government Palace are even earlier than others in local buildings such as the Aula Magna or the Alvaro Obregón Industrial School.

"These people from Torreón, Vitrales Montaño are the ones who were supporting Vitrales Montaño, of Torreón León, who mentioned that us in the manufacture of the would be the specialist beyond the economic cane which is the element of house that could support in damage what is invaluable is lead that unites the glass on the restoration of the stained the damage suffered by the one side of the other," he glass windows that were entity's assets. explained. damaged in the Mexican He revealed that the pieces He also pointed out that they Government Palace, during date back to 1906 and were are the ones to get the glass the protest by the petrolzo commissioned by Pellandini, that is not of Mexican origin. and the rise in the taxes. an artist of Italian origin, who Sánchez García said that for Specialists in the area has even had some now it is working in gathered to see the process exhibitions in the entity. coordination with other to follow in the case of the An enraged mob caused agencies such as INAH, pieces that were vandalized. damage to the stained glass Conarte and INBA to see The group was led by Javier windows that are located on what will be the way forward.

Sánchez García, Coordinator the sides of the entrance of of Cultural Heritage of Nuevo the building also known as



Relic of the fearsome Stasi.

In the manner of a screen.

It is made of glass, iron and cement; Has gold inlays and is pigmented with precious metals.

Talking of millions for this piece is a bit crazy.

The work remained untouched from 1990 until last December, when it went on sale in a private room taking advantage of the torrent of collectors that is concentrated in Miami during

the fair Art Basel.

20 meters long and 3 meters high, in 15 removable panels, a lost relic of the Communist era in Eastern Europe.

The monumental work stands.

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Several connoisseurs argue that it is only worth a few hundred thousand euros, because after all, the most curious thing about the piece is its history, its testimonial reason, gilded by the mere taste of the "recent antiquities" in the public.

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The glass in Museums: Chihuly Garden.

Our web

Volume II — Number 96

February 2017

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Chihuly Garden and Glass is an exhibit in the Seattle Center showcasing the studio glass of Dale Chihuly.

with significant secondary spaces including a 90 seat café with additional outdoor dining, a 50 seat multi-use theater and lecture space, retail and lobby spaces, and The exhibit opened May extensive public site 21, 2012 at the Seattle enhancements beyond Center at the former site the Garden. The of the Fun Forest. The installation inside of the project includes three Glasshouse is an primary components: the expansive 100-foot long Garden, the Glasshouse, sculpture and is one of and the Interior Exhibits,

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Chihuly’s largest suspended sculptures.

The facility was designed with the help of Owen Richards, an architect and was awarded LEED silver certification from the USGBC. Chihuly Garden and Glass is the comprehensive exhibition dedicated to showcasing Chihuly's work.

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Recycling. Increase the rate in the EU.

Volume II — Number 96

February 2017

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The European Parliament's Environment Committee wants the recycling rate of waste to reach 70% in the EU by 2030, compared to the current 44%, while at the same time limiting the discharge to 5%.

That year's statistics show that 44% of all EU municipal waste is recycled - or compounded, in the case of organic matter.

A move up from 31% that was recycled in 2004. But barely three years remain to reach the recycling rate of 50% that This is reflected in the amendments voted to the "waste European legislation requires package", the legislative project member states. that will regulate this matter.

"The Environment Committee Likewise, the Committee on the has shown that it believes in the transition to a circular economy.

Environment calls for a 50% reduction of food waste by 2030. We have decided to restore the ambitious targets of recycling Although waste management in and dumping in line with the the EU has advanced original proposal of the 2014 considerably in recent decades, Commission, "said the Euro-MP almost a third of municipal waste Simona Bonafè. is still being sent to landfills, and He added that there will be no less than half are recycled in generalized exceptions for some way.

Member States with the lowest There are also significant recycling rates. differences between member "They may request exceptions, states. but they will be subject to According to data from 2014, specific conditions," he said.

Austria, Belgium, Denmark, OBJECTIVES Germany, the Netherlands and Sweden achieved zero virtual The European Parliament says dumping, while Cyprus, Croatia, that by 2030 at least 70% by Greece, Latvia and Malta still weight of municipal waste send more than three-quarters of (including domestic and their landfill to landfills. trash. commercial waste) must be In the case of Spain, according to Eurostat data, the dumping in 2014 reached 55%.

recycled or prepared for reuse, compared to 65% proposed by the European Commission.

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As regards packaging materials such as paper and board, plastics, glass, metal and wood, MEPs also propose a target of 70% by 2030, but in this case with provisional targets for each material by 2025.

Regarding the discharge, the current legislative proposal limits the use of landfills to 10% of municipal waste by 2030.

The European Parliament proposes to reduce it to 5%, although with a possible extension of the five-year deadline - under certain conditions - to the Member States that in 2013 would shed more than 65% of their urban waste (this would not be the case in Spain).

With regard to food waste, it is estimated that around 89 million tonnes are generated in the EU 180 kg per inhabitant - each year.

MEPs advocate setting a 30% reduction target for food waste by 2025 and 50% by 2030, taking 2014 as the reference year.

Similar objectives were proposed for marine litter.

These four proposals to the "waste package" will be taken to the plenary of the European Parliament in Strasbourg next March to be voted on.

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Volume II — Number 96

February 2017

 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 2017.

 Cultural visits. one of the most important engravers and sculptors on glass in the 1980's in the country, and until now , A great unknown.

office to which he dedicated himself, as his son, Oscar Santiago, has pointed out.

The selection that is offeThe Royal Glass Factory of red now includes some of La Granja hosts an exhibi- the best elements he mation on engraver Joaquín de, according to his son, Santiago Calvo. and within what has been collected, since the work of Joaquín Santiago has been Santiago Calvo is "very disone of the most important tributed." engravers and sculptors on glass in the country, as For this purpose funds This February we want to visit the Technological Museum of La they have pointed out from have been used from the the Royal Glass Factory of private family collection Granja to see the work of JoaLa Granja, and a "great and also from some other quín Santiago Calvo (Madrid private individual.

1938-Pinillos de Polendos 1997), Unknown ", as well as the

 CULTURE 2017 program. much broader concept of the idea of art, a universal language that knew no frontiers.

Proof of this are the works of Spanish, Italian and Flemish painters in which explicit tribute is paid to Tiziano and can be seen in the exhibition.

On the other hand, through the presence of Jovellanos and the first modern Spanish writings on the history of art in the exhibition, the visitor will be able to understand how at the end of the 18th century a modern conception of the history of art linked to national history .

On the one hand, the fact that during the sixteenth, seventeenth and eighteenth centuries there was no An exhibition that tries to make conception of history in the visitor reflect on two national terms but rather a complementary phenomena.

This February we will visit the "Metapintura" exhibition in the Prado Museum.

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The course set out in this exhibition is contextualized in two of the pillars most closely linked to the Prado and that constitute its backbone: the Royal Collections and Spanish art, two inseparable terms since the development of Spanish art was intimately conditioned by the existence of the Real collections.

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Exposition in La Granja.

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February 2017

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The Real Cristal Factory of head of engraving La Granja shows works by workshop in different glass factories, first in Madrid Joaquín Santiago Calvo. and later in Huesca.

This retrospective In 1985, he set up his own exhibition shows a selection of half a hundred workshop in the town of Pinillos de Polendos in engraved and carved works by Joaquín Santiago Segovia where he began a (Madrid, 1938 - Pinillos de new stage, the most Polendos, 1997), inspired creative of his work. by many of them in the old It also coincides with a works of the Royal Crystal stagnation of its trade and Factory. the closure of a number of At the age of 16, he began glass factories. his training at the Joaquín Santiago Calvo, a engraving workshop of a great connoisseur of his Jewish refugee installed in trade, contributed to the Spain at the end of World creation of the National War II. Glass Foundation of La Years later his professional career led him to work as

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Granja in the beginning of the 90s.

Safeguarding handicrafts, the main purpose of the foundation, led him to teach classes in carving and engraving to about twenty students who were the first promotion of the Foundation's School Workshop.

The exhibition 'Joaquín Santiago Calvo: Master engraver in Segovia' was inaugurated in the Technological Museum of Glass. Hall of lights, of the Royal Glass Factory of La Granja on 10 November and can be visited until March 15, 2017.

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Other trends. Survive the barbarians.

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February 2017

Reopened to the public, pilgrims to the interior can see stamps and objects to measure distance and time; Carpets; weapons; Children's toys; A brief exhibition of funerary art; A well-known collection of instruments of astronomy, chemistry and surgery used during the Middle Ages in the Muslim world and jewels as a bronze vessel from the time of the caliph Marwan Ibn Mohamed (744-750 AD), a Koran from the time of the Umayyads On a gazelle skin and the oldest gold dinar discovered to date (AD 696).

The mission of rebuilding the puzle and mending the museum's entrails has had a long string of patrons.

The United Arab Emirates, which a decade ago raised its own Museum of Islamic Civilization to blow petrodollars, disbursed 50 million Egyptian pounds (about 5 million euros at that time).

Unesco contributed $ 100,000 (about 95,000 euros) to restore the institution's laboratories while Italy donated 800,000 euros to acquire the new showcases and train the conservative team.

On January 24, 2014 a car bomb, planted near the fortified police station in downtown Cairo, reduced to rubble the rooms of the Museum of Islamic Art. His catalog, a fascinating journey through history from the confines of Iran to the south of Spain, shivered under the dynamite.

expanded, from China to Spain," asserts Al Shoki, who has led the titanic task of curing the area since the attack.

"It's been a grueling job. The restorers worked without rest, "he admits.

Among the jewels rescued from the wreck is a wooden mihrab (a niche "It happened just 30 meters from in the mosques indicating the the entrance to the museum and it direction to Mecca) belonging to was a catastrophe," said Ahmed al- Sayeda Ruqaya, one of the Shoki, director of an institution that descendants of the prophet. has been reborn from its ashes.

"It is a Fatimid masterpiece that Three years after the attack that started the access gate and damaged its collection, the Egyptian regime inaugurated the center transfigured as icon of triumph over the barbarians who act in the name of the creed of Mohammed.

"This inauguration embodies Egypt's victory over terrorism and its ability and willingness to repair what terror has damaged and to face attempts to destroy its heritage," said Anti-Minister Khaled al-Anani during the ceremony.

Established by order of the jedive Ismael in 1880, the museum houses the largest collection of Islamic art on the planet. "It covers all the areas through which Islam

The United States and Switzerland spent the cost of rehabilitating the facade of a building inaugurated in 1903 and located in the vicinity of Bab el Jalk square, at the gates of the Islamic quarter in whose labyrinth of narrow and tortuous streets, between mosques and beautiful buildings Medieval, Naguib Mahfuz placed their stories.

The resurrection of the museum has also served to revolutionize the layout of rooms that were subjected to a large and expensive renovation between 2003 and 2010.

According to those responsible, that reformed - which led to open was completely destroyed. Foreign houses - only satisfied their conservatives recognize that it is an European craftsmen. outstanding job, "boasts Al Shoki. A "The Arab soul was lost. It was clearly devised by strangers. To ruling that sects Hamdi make it more beautiful, objects were Abdelmenen, responsible for the mixed and the translations into restoration department, while English and French were not wandering around the center's precise, "Al-Shoki complains, happy renovated rooms. to sign the reckoning.

«There are 180 pieces that were damaged. All have been recovered except a dozen glass objects that are in very poor condition. We do not give up and we're trying to rescue them, "slips the expert.

"We rethought the entire exhibition space. We have added fourteen showcases that, distributed in 25 rooms, are home to 4,400 pieces ", details the director.

To record an effort that feeds patriotic pride, a red label identifies those showcases in which they display the objects that paraded through the operating room.

An extensive inventory which, through precious objects of wood, plaster, metal, ceramics, glass or cloth, reconstructs the art and life of Allah's civilization. "We are the ones who know best about our legacy," Al Shoki concludes.

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The stained glass windows of the cathedral of Auch (I).

Volume II — Number 96

February 2017

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De caocultura.com.

In Gothic the opposite occurs, light penetrates the If there is one element that interior of the churches, distinguishes Gothic art merging with the wall and above any other is undoubtedly the use of light. transfiguring its interior in clear and diaphanous The architect or Gothic spaces. Art historians find a builder does not find the clear relationship between light, but he consciously this concept of luminosity searches for it and for that he and medieval metaphysics. uses and develops the constructive elements that he It was St. Augustine who needs to achieve it, such as recalled that Christ is called the pointed arch, the buttress Divine Light, properly and and the ribbed vault; And not not figuratively. the other way round, as it For the twelfth and thirteenth could sometimes be thought centuries, light was the by the explanations that are source of all visual beauty, collected in some manuals. as Saint Thomas Aquinas This conscious search is present from the very origins of the Gothic, in the abbey of Saint Denis, and was one of the features of the new temple that drew the most attention to his contemporaries.

and Hugo de San Victor understand, for example, which also coincide in affirming that the beautiful participates in two characteristics: proportion and The luminosity.

independent of others, but as the radiance of truth, that is, of God. The Gothic cathedral becomes the heavenly Jerusalem that the Apocalypse describes "of pure gold, like transparent crystal."

In the first centuries of Gothic, the stained glass was a work closer to that of the artisan glazier than the painter, but over time that was changing, and progressively the dissociation between them became more and more.

This fact began to be especially evident in Italy from the 14th century, when painters of the fame of Duccio and Simone Martini lent themselves to drawing cartons to be transferred to In the rest of the the glass, pointing the way to In the Romanesque, the wall philosophical literature of the other Quattrocento artists such as Ghirlandaio, Paolo time, adjectives like lucid, was opposed to the light, it luminous and clear are often Ucello , Andrea del Castagno prevented its passage, and Ghiberti. submerging the interior of the used to describe the visual beauty; And beauty, it should temples in a somber be remembered, was not atmosphere and of regarded as a value recollection. www.amigosmava.org

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

Glass espionage.

February 2017

mirrors were not fooled, for the letters were too well written. In addition, many beautiful and accommodating Parisians showed interest in these exotic Italians, who were in no hurry to receive their wives. In any case, Colbert made the necessary arrangements for some of them to flee to Paris.

Volume II — Number 96

The Italians did not allow any French to work with them at crucial moments in the secret procedure.

Determined to promote French industry and to please his king, JeanBaptiste Colbert was indignant at the exorbitant prices paid by the French for the Venetian mirrors, so that in 1664 he commissioned Pierre de Bonzi, French ambassador in Venice, to recruit mirrors Of Murano who were willing to move to Paris. Bonzi studied the matter and replied that "anyone who suggests that they travel to France risks being thrown into the sea". Even so, Bonzi would try for his king.

The Venetian Council of the Ten ruled the island of Murano with an iron hand and an eye. The law was very clear: "If a worker or artist transfers his talent to a foreign country and does not obey the order to return, all his close relatives will be imprisoned." If that does not work, "he will be sent to an emissary to Kill him and, after his death, his family will be released. " Bonzi hired a merchant of trinkets, who prowled the island of Murano in search of mirrors. Three months later he had found three disgruntled and rather unpleasant workers (one had murdered a priest) who agreed to take the risk in exchange for a large sum of money and tax exemption. In June 1665, the three mirrors arrived in Paris and began to build their own ovens on Rue de Reuilly, in the district of Fauboug Saint-Antoine. When the Venetians discovered his disappearance, they asked Sagredo, the Italian ambassador in Paris, to inform the renegades that the

sentence would be suspended if they agreed to return. But Sagredo could not find them.

The discrepancies between La Motta and Rivetta divided the immigrants into two rival groups. They continued to make mirrors, but armed with arquebuses. When the tempers warmed, they took out the guns: La Motta and a companion were wounded among a heap of broken glass. The factory closed for a few days. A few weeks later, the delicate work of cutting the blown glass injured one leg, and no one had the knowledge to take its place. However, the foundation ovens had to be turned on to prevent the glass from deteriorating.

Dunoyer, in despair, suggested that the king ceded lands to the glassmakers and that the Italians should receive compensation for every French apprentice they prepared. In 1667, just when it seemed that these incentives would bear fruit, a worker from Murano suffered a sharp attack of fever and died within a few days. Three weeks later, after complaining of horrible stomach pains, another worker died. At By then, of course, Ambassador a time when labor poisoning was so Sagredo had already located the Italian fugitives. He swaggered, broke frequent that there were special courts to handle these cases, the tension in into promises and made threats. In response, Colbert increased the salary the mirror factory rose rapidly.

Ambassador Giustiniani promised a of Antonio della Rivetta, the senior pardon to the workers who wanted to master, and his three assistants, return to their country, and La Rivetta, Morasse, Barbini, and Crivano, and granted free accommodation and food Barbini and Crivano left for Murano in April. to all the mirrors. Sagredo reminded the workers that they were putting By this time the French workers had their family and property in danger, but learned enough to continue working, it was a useless threat, as many and in Tourlaville, near Cherbourg, a craftsmen had fled, too much was at skilled craftsman named Richard Lucas stake, and the Venetians could not de Néhou was making excellent glass. afford to confront them.

Pressed by Colbert, this rival company Sagredo was dismissed and replaced had to join the Parisian firm, which took advantage of Néhou's expertise.

by Ambassador Giustiniani, who By the autumn of 1665, the secret agents had already brought out 20 moonlit fugitives in moonlit gondolas to take them to the new factory in Paris. Colbert had hired Nicholas Dunoyer, a Orleans tax collector, to oversee the operation. On February 22, 1666 Dunoyer sent Colbert the first perfect mirror.

proved to be more efficient. Several nostalgic Italians asked for permission to return to Italy. Colbert wrote to the wives of these men, who remained in Murano, to invite them to settle comfortably with their husbands in Paris. The Venetian police intercepted the letters and sent false answers in which the wives asked their husbands to go and look for them. But the

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In 1680, the Italian ambassador lamented: "My eyes are filled with tears as I see how all these factories, which an admirable gift of providence, nature and diligent work had given us expressly, Ease because of the unpunished betrayal of a few of our fellow citizens".

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New strategy.

Volume II — Number 96

February 2017

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The Foundation of the National Glass Center (CNV) of La Granja studies a "new strategy" for the School of Glass, which has been taught in the building since 2010-2011, since in this exercise has not started a new course And is stopped, as the minimum number of students for their development has not been covered.

2013, and the fourth and last students of Fourth, the last in 2013-2014. course, "he says.

Already in July of last year, the Secretary of the Board of the National Glass Center Foundation, José Ramón Álvarez, admitted that the School was not functioning as expected, and in his opinion, the main problem was the obligation to remain one year Residing in La Granja.

The Glass Factory imparts the only official degree of glass degree in Spain.

"We are thinking of relaunching other training possibilities, since the demand of students specialized in glass continues on the part of the companies, but does not correspond with the applications to study the Degree," explains Blanca García.

Therefore, for this course the The idea of the National possibility of doing it online Glass Center Foundation is was presented. to adapt the teaching of glass As it will be remembered, the to other types of training that However, the director of the Governing Council of the may have more demand.

Foundation, Blanca García Junta de Castilla y León Agulló, states that even a In parallel, the Royal Glass approved in 2010 the new sufficient number of students Factory continues to carry curricula of the higher artistic have not been achieved out monographic courses, studies of Grado en Vidrio, through this non-presence. which do work. which began experimentally The School received for this "We are also thinking about in the period 2010-2011, last course five applications reaching agreements with applying the first course Of for the Superior Glass design centers, to continue these teachings that were Degree, establishing a with the training. We have to offered in the Real Sitio. minimum of twenty students think of a new strategy for In the academic year 2011to start the course. the School to continue 2012, the second course of working ", says the Managing "That's why the School is the new plans was Director. standing still this year. They implemented, the third one are only teaching the was implemented in 2012-

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Page 27

Replacement of the window.

Volume II — Number 96

February 2017

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Of noticiasdenavarra.com

want to finish it, although he admits If everything goes according to plan, to being "flattered" to have been chosen for its design. at the end of January the stainedglass window with the official Regarding its elaboration, it Navarre shield will be terminated, assures that the stained glass which will be placed on the windows are still made "as it was tympanum of the main façade of the 2,000 years ago", with lead and Palace of Navarre, replacing the glass. "The rest is plastic terrorism," Laureate Cross of San Fernando, he criticizes. recently withdrawn By the executive branch in compliance with the law of In the case of the shield of Navarre, first measured the frame and then symbols and the law of historical prepared a sketch to scale, 10 memory. times smaller than the real.

This was advanced by its author, "Taking advantage of the fact that I the glassmaker Alberto Chueca had to measure the oculus, I saw Lenzano, who since November 29 has been immersed in the design of how the last part of the sculptural group was dismantled and it this work which consists of seemed to me a historical event," elements as characteristic as the recalls this "faithful to the pencil" chains on a red background, an emerald in the center of union of Its artist who denies technology. eight arms of links and, above them, "Once you have the sketch, it the royal crown, symbol of the Old becomes natural. Then the pattern Kingdom of Navarre. is printed on cardboard of templates since it will be on them "At first I proposed to make an where the glass works ", interpretation of the shield summarizes. something more avant-garde, creative, daring and contemporary, but finally the official was chosen", explains the artist (aged 60) in his workshop Arte Glass, located on the access road to Olite from Tafalla.

Meanwhile, on the table rests the glass that will reach a diameter of 1.51 meters.

Due to its size, the author has chosen to divide it into three for security reasons. "When it exceeds the square meter it is preferable to place separators", explains in this sense.

He adds that "stained glass tend to bulge because of the weight they bear," so that to solve that problem has created a "own system", which he prefers not to reveal.

Such is the complexity involved in the work that Chueca admits to

In concrete is using plate glass, whose mass is colorless but that has a color film that can be removed with hydrofluoric acid to leave it colorless or to paint it if it is wanted, and blown glass, that has bubbles, waters and imperfections thanks to the air that takes injected.

Other key materials are enamels, silver yellow, spatulas, hammer, glazier's nails or grisaille (which serves to outline the drawings).

However, the tool most used by these professionals is the oven, since it is used to fix the different enamels so representative of stained glass.

"It's a job that requires a lot of patience. The oven has a limited capacity. The pieces take hours to cook and I have to wait between 8

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and 10 hours to cool the oven to see if the result is correct, because otherwise I have to repeat them, "he reports. After all the pieces have been completed, they must be assembled with lead, soldered with tin, sawdust and tinted with black patina.

As far as its installation is concerned, it does not believe that it will take more than an hour. "A priori has no major complication," he says. Specifically, when the time comes, you should fix both the central stained glass and the two fragments that make up the whole to the two vertical separators.

Finally, it is possible to emphasize that Chueca has been formed in the University of Paris VII and in the School Massana (Barcelona), where studied for a decade drawing and painting, first, and stained glass, after.

His five years of study in stained glass make him the only professional in Navarre with this title.

He lived 16 years in Calahorra, until he finally moved to Olite.

Throughout his professional career, he has made own designs and restorations in monuments like the church of San Lorenzo, the cathedral and the facade of the City council in Pamplona; The churches of San Pedro de la Rua and San Miguel in Estella; The monastery of Fitero, the church of Elizondo, etc.

He feels a special predilection, "perhaps for the proximity in time", recognizes, for a work that just concluded in a mansion of Trujillo (Cáceres) property of an intimate friend of the queen of England.

"At first it sounded like a joke to me, but it turned out to be true and it was beautiful," he concludes.

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I Conference of Young Investigators.

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February 2017

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The Institute of Ceramic Technology (ITC) of the Universitat Jaume I and the Institute of Ceramics and Glass (ICV-CSIC) organize the 1st Conference of Young Investigators (JJII) at the UJI to be held at ITC on March 8, 2017 In order to provide a framework for communication and exchange so that young researchers can defend their most recent work within a specialized scientific environment.

Those interested in participating can send their proposals before February 15 through a form and sending the summary to youngsters.envistas @ itc.uji.es.

The presentation of the works will be made through oral presentations of 15 minutes duration and the themes of the projects can revolve around the

themes: synthesis; Processing and characterization of ceramic and glass materials of technological and industrial interest; construction materials; Coatings, surface modifications, and functional materials.

A jury composed of experts and experts will choose the best works presented, which will be awarded with the SECV JJII 2017 Prize awarded by the Spanish Society of Ceramics and Glass in recognition of the work with greater scientific rigor.

The distinction will include a free registration to the SECVI 2018 LVI Congress for presentation as a guest conference.

On the other hand, ICVCSIC will award the ICV JJII 2017 Prize to the best presentation for its

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exhibition as an invited conference in the opening session of the conference.

Finally, the ITC-UJI JJII 2017 Prize will be recognized by the Institute of the UJI for the work of greater industrial application and will entail a free registration to the XV QUALICER 2018 Congress.

In addition, among the works presented will be selected up to two of them to be published as featured articles in the Bulletin of the Spanish Society of Ceramics and Glass.

In addition, in order to promote the participation of young people, the Spanish Society of Ceramics and Glass will grant up to five travel bags for SECV members residing outside the Valencian Community.

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

How does it.

Volume II — Number 96

February 2017

This month we include some pictures of the technique practiced by Elliot Walker.

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Collection of glass pieces.

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February 2017

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Working with glass with an unusual technique, the Mexican artist Rebeca Huerta prepares a new collection inspired by the symbols, "which are the evidence of our time, our culture and what we are as individuals" and induced by color and So capricious forms that are seen in the Mexican nature.

working with molds, allows to make a casting like bronze and have Very precise volumes, with the composition exactly as you want, "he said.

In reviewing his beginnings in art, he explained that "I was interested in glass, by light and color. Color is a very strong symbolic element that can be applied to the sculptural volume and gives it a totally different meaning ".

Huerta, Mexican but settled in Malaga, works the glass with an unusual technique, based on the famous Czech glass, an He put as an example that a experiment that began with a sculpture that is made of French technique called "pâte de transparent glass does not have verre". the same emotional meaning as Interviewed by Notimex, a sculpture that is yellow "and explained that this technique the light factor is very important began to do from 1942 and for me, the fact that light passes eventually became monumental through the volume generates a sculptures, "which means that Feeling of uncertainty ". they are large blocks of colored He added that the shadow is the glass in one piece, which are evidence that a solid exists, "but fused and polished." when there is a piece of glass He indicated that the technique and light passes, it is somewhat with which he works is the only uncertain, you do not know one with which precise volumes exactly what is there, it is an can be made and added that all enigma, glass is enigmatic and other techniques handle the that Attracted attention ". glass hot, heated and He cited as an example that manipulated while being hot, made a very Mexican piece, which prevents certain shapes. called Ek Balam, inspired by this "The physical situation of the Mayan archaeological zone and glass when it is hot and dripping basically represents the door to like a liquid is that it prevents the underworld. proper positioning if you have the "Ek Balam was the tomb of Ukit idea of a very geometric sketch, Kan Le'k Tok ', a Mayan ruler and the technique that I use,

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who propitiated the arts and of this symbol what I took and I want to work on the sculptural plane is the question of the entrance to the underworld, only in this If I am referring to consciousness, "he said.

He assured that the fact that the artistic object, sculpture, allows that reflection, that feeling of entering the consciousness, to make an analysis, to see itself, "is what I am looking for myself as an individual and that I want you to feel the Spectator of the works ".

In the interview, Huerta stressed that his work is influenced by the Mexican "for all the aesthetic culture we live day by day, color, the forms so capricious we see in Mexican nature and the world I have, symmetry," While the Czechs absorbed the technique.

He added that Mexican sculpture "I preserve the animist conception, that the pieces have their own life, their being", because in Mexican pre-Hispanic sculpture sculpture was a life, it was like an amulet, it kept energy, it was energy itself Same, "which struck me a lot and yes it has motivated me a lot".

Meanwhile, he said that from the Czech world, from the European world, where it was formed, "I absorbed the whole question of industrial processes."

Page 31

Moroccan low-cost glass.

Volume II — Number 96

February 2017

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"We have gone from being the 'south of the north' to being considered the 'north of the south', in either case, always condemned to fight for our competitiveness as a factory, but this time without giving us arms."

uncertain future by denying technological investments that should keep us in the vanguard of competitiveness, "said Ureta in line with the statement read yesterday by the chairman of the company committee of the former This phrase of the UGT Spanish Glassware, Jesús veteran unionist Fernando Moro, during the Morning Ureta sums up the dilemma concentration of a hundred in which the glass factory of workers at the factory gate, La Maruca is located, framed a preamble to a later road in a territorial division that for cut and other mobilization, years forced it to compete this time in the afternoon with productive centers of and in front of the Avilés City Europe and now it puts him Hall. at the feet Of the horses with the break-in in the market of These protests were the the low cost glass that Saint- culmination of several days Gobain manufactures in the of partial strikes massively Kenitra factory pole backed by the workers.

(Morocco).

"This will be the pattern if the "We understand that the conflict persists: negotiation, multinational should take mobilization ...", union advantage of the opportunity representatives announced. to produce in a low-cost The growing concern for the country like Morocco, it is a future of the Avilesian glass consequence of factory deserved the globalization, but we reject it presence yesterday in the at the expense of city of the top sector transferring our production to managers of CC OO and other factories and, worse, UGT, Damián Manzano and Plant Avilesina to an José Luis Alperi. The two

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met with the Mayor of Avilés, Mariví Monteserín, explaining the delicate situation of the La Maruca plant, to which Saint-Gobain cuts windshield production to the benefit of the Moroccan factory and denies investments that the workers understand "Vital" to ensure competitiveness.

"The wage bill only represents 17 percent of the cost of production of the windshield, it is absurd to think that improving competitiveness is to revise wages or cut jobs, the key, as in any other industry, is in the realization Of investments to avoid technological obsolescence, "said Alperi.

The Mayor of Avilés joined the investment claim, and in that sense announced that she will send a letter to the multinational expressing concern about the lack of an industrial plan that will clear, at least until the 2020 horizon, the doubts it has generated Saint-Gobain with its policy of giving priority to its Moroccan factory at the cost of mortgaging Avilesina.

Page 32

Creative jewelry workshop.

Volume II — Number 96

February 2017

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The Cultural Activities Area of the University of León (ULE) has organized the first edition of a new workshop of 'Creative Jewelery', which will be given by Rosa García Morán at the facilities of the Cultural Athenaeum El Albéitar, on Tuesdays and Thursdays of 17 To 20 hours, from February 7 to March 14.

The program contemplates the design and realization of jewelry combining the glass through different techniques with materials that "although at first we would not consider them elements of jewelry, however, with a little creativity and design they become authentic exclusive objects" .

Manufacture of jewelery made of glass, beads and metals Among the topics that will be discussed are the introduction to glass history, contemporary jewelry in glass, study of color, shape and texture, and sketchbook.

Paper beads for necklaces, colored beads with The ultimate goal is for the polymers, as well as the From the direction of the designer to have their own design and insets of each workshop it is explained perspective, necessary to piece will also be made. that the initiative "is aimed characterize their design Other contents will be at all people who are and prevent each piece dedicated to the technique interested in developing from being a repeat. of cutting and assembling their creativity and who To do this, work will be of glass pieces, tinning and want to discover the infinite done so that each student final patina, the realization possibilities of the makes their own designs of strings woven with combination of and get at the end of threads and fabrics, linkers restlessness, illusion, classes to finish at least for strings and metals, and imagination and the mixing five pieces of creative guidelines for the execution of different materials at the jewelry with their personal of different knots. time To create small artistic touch. objects, unique and personal.

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Page 33

Alfa Gold Awards.

Volume II — Number 96

February 2017

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The Spanish Society of Ceramics and Glass presents the forty-first edition of the Alfa Gold Awards awarded at the CEVISAMA Fair in Valencia.

Year after year and for four decades have recognized excellence in Research, Development and Innovation of companies, accompanying and contributing to the development of the Spanish ceramic industry.

The Alfa Gold Awards have become the most recognized and valued awards by the sector, becoming the recognition of a daily business that contributes to the sustainable growth of the company that receives it and which rewards the work and daily excellence of the Staff.

They encourage companies to continue making the effort to present their research work, since the mere fact of presenting is a stimulus in the continuous process that every company must carry out to ensure its future.

Bases of participation in the Alfa Gold Awards The Alfa Gold Awards, instituted by the Spanish Society of Ceramics and Glass in 1977, are convened annually and are granted by the aforementioned Society.

The bases for the award of these prizes, which are intended to stimulate scientific, technological and artistic creativity in ceramics and glass, are clearly established and are publicly accessible.

The Alfa de Oro are delivered every year in the framework of CEVISAMA, to products exhibited at this Fair.

Prizes may be awarded to products made basically with ceramic and glass materials, bathroom equipment and kitchen or machinery, ovens or equipment used in the ceramic and glass industry.

their stand of the Fair to show the product and clarify any doubts presented by the jury.

The pieces and memories presented to the Alfa Gold Awards remain the property of the Spanish Society of Ceramics and Glass (SECV), which has reached an agreement with the Tile Museum "Manolo Safont" of Onda for deposit.

Unless otherwise stated by the participant, the reports may be consulted by experts who request it as of the fifth year after submission.

The excellence of the awards is assured by the Jury of Qualification, chaired by the President of the SECV and composed of experts from the area representatives of the following organizations: Jaume I Castellón Other trade fair institutions wishing University, UJI, Institute of Ceramic that the products on display may Technology of Castellón, ITC, Institute qualify for prizes may apply to the of Ceramics and Ceramic Colors Spanish Ceramic and Glass Society Association (ANFFECC), Spanish (SECV), at least one year prior to the Association of Ceramic Technicians opening date of the Fair.

(ATC), Spanish Association of Tile, In order to qualify for the prizes, the Paving and Ceramic Tile exhibitors must email their application Manufacturers (ASCER), National for participation to the Spanish Society National Association Of Ceramics of Ceramics and Glass, accompanied Professionals (ANPEC), Spanish by a short technical report describing Association of Manufacturers of the product presented to the awards.

Machinery and Equipment Goods for the Ceramic Industry (ASEBEC) and Likewise, the participating exhibitors must receive the jury of qualification in SECV (Secretary of the Jury Peer years, in which machinery is presented, is awarded a maximum of four prizes and odd years is awarded a maximum of three prizes.

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Page 34

The bottle of Klein.

Volume II — Number 96

February 2017

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pass continuously from the inside to the outside, which reminds us of the It is of utmost importance Moebius tape. to respect the order of But there is something the letters, since this more spectacular, second step forces the surface to twist on itself, because it is placed vertically on a table, it so that, in order to stick takes a knife and is cut in correctly, the upper and the half, from top to lower circles of the cylinder, the surface must bottom, as if it were a cake, to obtain two straps To illustrate how this be cut to itself Same. of Moebius. surface is, the most It is not easy to imagine useful is to consider a Or put another way, two the final result after the square and thin sheet of properly bonded Moebius second glue, but plasticine, 30 cm in side, tapes produce a Klein fortunately the internet whose four vertices we puts before us a bottle of bottle. call neatly-clockwise-A, glass, as surprising as it But it is not a bottle to B, C and D. is beautiful, in which it is use, since filling it is not In a first step we form a worthwhile to pause to an easy task and if you cylinder by sticking think about what is have finally got it, allow together the sides AD special beyond its deep some advice: do not bend and BC. mathematical properties. your elbow to satisfy your thirst.

Then proceed as in the For example, it has a Moebius tape, that is, the single face, that is, we The Klein bottle was first described in 1882 by the German mathematician Felix Klein and originally christened as Klein's surface; An erroneous translation of German (Fläche = surface by Flasche = bottle) made it known today as the Klein bottle.

DC side is stuck with the BA.

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Page 35

Prehistoric mines of obsidian.

Volume II — Number 96

February 2017

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Although obsidian mining is known to be a common practice in prehistory, until now excavated wells have not been found for this purpose.

In Europe most of this volcanic material was collected in surface, such as the pieces found in some Neolithic deposits of the Iberian Peninsula, coming from the slopes of the volcanic massif of Monte Arci in Sardinia.

This is one of the only four obsidian deposits in the central Mediterranean, alongside those of Lipari, Pantellaria and Palmarola.

In the Aegean are those of Melos and Gyali, while in Anatolia are known those of Acigol and the volcano Göllü Dag. From these deposits the obsidian crossed the trade routes to the east and west, and was used since the Stone Age to manufacture cutting tools.

Its importance remained even

throughout the fourth and third millennia BC, a time that would correspond to the discovery made by the team of archaeologist Paolo Biagi in Mount Chikiani of Georgia.

vicinity of the wells, although the researchers believe that there can be many more.

Then the resulting artifacts were distributed to prehistoric settlements through commercial routes, some of The importance of the discovery lies in the data it can them hundreds of kilometers provide on mining activities in away, although the system used is unknown.

Eurasian history, and the planned extraction of this type One of the most interesting of volcanic glass, an aspect of aspects for archaeologists is to which researchers have little know how the extraction was knowledge. organized in such a high place that it was covered with snow Mount Chikiani rises 2,400 for six months a year and with meters above sea level, extremely low temperatures. northeast of Lake Paravani, and has numerous streaks of Alongside the mine wells were obsidian that originated by the also burial mounds and eruption of a volcano about 3 megalithic complexes that million years ago. included alignments of stones On its northern slope, at about up to 100 meters in length.

2,200 meters above sea level, His study could shed light on up to 250 wells were found for hitherto unknown aspects of the extraction of the material, the culture of Kurá-Araxes, a all surrounded by remnants of civilization that developed in mining activity. the area between the year 3400 and 2000 BC. And whose The extracted obsidian was main settlement is in the later worked in workshops, eight of them also found in the plateau of Ararat.

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Page 36

Interview with Orfeo Quagliata.

Volume II — Number 96

February 2017

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From quien.com

who likes to play with materials, so my style comes more from With more than two decades of experience, the founder of Studio innovation in techniques than I Orfeo Quagliata is a unique artist do, The limits to see what can be done with the fusion of materials as he uses science to create or with the pure glass itself. beautiful glass sculptures.

creating a piece that can be projected onto the wall or ceiling thanks to its curvature. It has to do more with light and projection than with the piece itself, that's why it's my favorite.

1. How did you get started in the 3. What is the most complicated part of working with glass? art world?

5. What new proposal do you bring to Zona Maco 2017. What will surprise the fans of art?

I was born in the art world, everyone in my family is creative.

My father Quagliata Narciso is an artist who is also dedicated to glass, and I started working very young with him. We lived in the glass workshop in an artists' community at South of Market in San Francisco. My grandmother was a very famous jeweler in Europe, my grandfather an architect who designed the Lido theater in Venice, which is where the Biennale of Cinema in Italy is held. So in my family it was rather: how are you going to be an accountant or lawyer and not an artist?

Glass is a very mysterious material, resistant and fragile at the same time. Besides, what I do with the glass, boiling and torturing it sometimes causes the material to come against you.

Although I know it well enough, it's always giving you surprises.

In MACO we will have many new things as collaborations with companies of ceramics and wood. In addition to new pieces based on light and shape. It is difficult to explain in words, they would have to observe it with their own eyes to appreciate the works.

4. What are your two favorite pieces? Where did the idea of creating these pieces come from 6. Tell me about your book Why and what do they mean for you? did you decide to translate your works into a writing?

My two favorite pieces are a The book is an adventure of love, syringe I made three meters long, all made in glass and filled more like a passion. The truth is more visual so in the book I with Swarovsky stones. I did it because of the great fear I have include many photographs of the with the syringes and I have it in pieces. It came from the planning 2. What do you think of a catalog, but then all the my office since it is my only differentiates your works from piece that I do not have for sale. people involved as Grupo Romo, those of other artists? How The other is the Retnas or eyes Kika Studio and Emilio Breton would you define your style? saw that the pieces and the that are going to be exposed in The difference between my work the museum of light, these are a photos were very good so they decided that the book had to be representation of the iris of the and that of other artists is that I do not really consider myself an human eye that we have studied seen as a work of art, Including over time. This piece is made by great print quality. artist, I am more a designer, or an alchemist, or a creative artist pouring colored glass into a curved mold and then polished

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Page 37

Building of 4,800 m high.

Volume II — Number 96

February 2017

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could be a part of the 4,800 exciting projects is -foot tower.

EcoClean, a special coating that helps buildings The new design is called clean and purify the air.

Bloomframe. Essentially, It was first released in 2011 it's a motorized window that turns into an all-glass and offers a number of balcony in less than a benefits over traditional minute. panel glass windows, McCleary says.

Arconic has introduced the technology at trade shows EcoClean works with the around the world and will help of light and water hit the market in a "near vapor, which are mixed The tower was invented as future," according to a with the chemicals in the part of the company's coating to produce atoms company spokesman. largest campaign known as known as free radicals.

Instead of spending twice "The Jetsons", where These free radicals pull the as much on materials to engineers work on build separate windows air pollutants and technologies that will be and grilles, Arconic wants decompose them to get most useful in several the building flaking, almost to invest in flexible decades. components that can make as if it were dead skin.

Sherri McCleary, one of buildings that are not static Another innovation is in the Arconic's top scientists, giants. windows themselves, says one of the most which Arconic also hopes Arconic, a company specializing in materials science, has envisioned a 4,800-foot-high skyscraper built from materials that are already under development or have already been introduced to the market, including "pollution-eating" surfaces and balconies Retractable, according to Bussiness Insider.

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Page 38

Recovering a mosaic.

Volume II — Number 96

February 2017

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As a curiosity of the performance undertaken in the Vimenor de Vioño cinema, Rebeca Lanza has emphasized that the painting has been painted a blue To this end, "what was there" similar to the tones of the has been erected, mosaic, to maintain what is waterproofing it with new believed to be the intention of insulation, downspouts and the artist, that there is a scuppers, while cleaning the continuity With the blue of stone facade walls and the sky on which the mosaic repairing the forged edges, rises.

The Councilor for which had The armor in the Its theme is an allegory of the Employment and Local air. evolution of glass, in a "clear" Development, Rebeca In addition, new gresite has allusion to the activity Lanza, explained that the been placed in those areas developed by the factory action on this mosaic has where it was used as a popularly known as "La been the "main" objective of simple coating, since it was Vidriera", which later became the third of seven projects of in "very bad" condition, and, known as Vidriera Mecánica general interest that the in the hall of access to the del Norte, Spanish Consistory has developed cinema, the pavement has Glassware and finally Saint through the order of been reformed as well as the Gobain Glass. subsidies to local partitions and The lighting corporations Of 2016 of the The image represents the has been improved. regional Executive. figure of two Egyptians, as Regarding the recovery of origins of blown glass, and In a press release, Lanza the mosaic, the mayor has two skyscrapers of New York, said that the work had been indicated that the work has representing the evolution carried out for six months begun with the repair of the from the pyramids, which are and had the purpose of support on which it is also present in the work of waterproofing the building, sustained, as it had "many" Coullaut-Valera. acting on part of the covers water leaks and "never" had that had been partially been acted on it.

Piélagos City Council, in collaboration with the Cantabrian regional government, has completed work on the restoration of the mosaic of Vimenor de Vioño cinema, an allegory of the history of glass, made by the sculptor and sculptor from Madrid, Federico Coullaut-Valera, in the 1960s the last century.

repaired, "by means of patches", he said, so The "real" problem of this building had not been solved.

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Page 39

The Cité du Vin in Burdeos.

Volume II — Number 96

February 2017

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Nine hundred panels with goldcolored glass Guardian SunGuard Solar Gold 20 and Guardian UltraClear help create an impressive visibility for the latest landmark building in France.

technical support proved to be of glass offers high light transmission and increased color great value.

"The choice of glass was a long neutrality by letting in the 'real' daylight to provide a greater process," says Coveris. "It was sense of space and light. vital to select the most suitable

products, both technically and aesthetically. We had to check The Cité du Vin is a new cultural the feasibility of many aspects, center in Bordeaux (France) from the choice of treatment to offering a unique setting in which the certainty that the glass could visitors can learn about wine, its be distorted or curved outwards. history and its influence on Throughout this process, there civilization through a series of was a very good cooperation tours, exhibitions and with Guardian and the architects. spectacular Multimedia " presentations.

Anouk Legendre and Nicolas An observation deck at the top of the 55 meter tower offers a 360 ° view of the city and surrounding vineyards.

The building was designed by Anouk Legendre and Nicolas Desmazières of XTU Architects and presents a great architectural originality with daring curves and an integrated shape conceived to evoke the soul and the liquid nature of wine: seamless, intangible and sensual roundness. Obviously, glass plays an important role in reflecting these aspects.

Desmazières of XTU Architects agree: "The criterion for design required finding a glass with golden reflections. We examine various types of glass and then carry out screen printing tests.

Guardian glass offered the best results and the most modern look. " Two types of glass were selected: Guardian SunGuard Solar Gold 20 and Guardian UltraClear.

SunGuard Solar Gold 20 is the preferred choice of many architects and designers. Its XTU Architects wanted to use golden color treatment is applied high performance glass for its to Guardian ExtraClear float role in reflecting light inside and glass. This has advantages out and at the same time when compared to tinted glass. imitating concepts such as Not only offers high performance effervescence. solar control, but also, and thanks to a good index of color The architects selected French coating company Coveris to help variation, the colors that can be find the right solution for this high seen from the inside to the visibility project, and they thought outside of the building are very close to what they really are. of Guardian Glass in Europe, a leading high performance Sensation of space and light architectural glass manufacturer. Compared to traditional glass, Guardian's experience and

the Guardian UltraClear low-iron

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For the main tower of the building glass was used to create a separate skin that wraps the structure and, at the same time, maximizes its aesthetics.

In total, about 900 individual glass panels were used, some screen-printed with 20 different patterns.

All panels are different with maximum sizes of 5.1 m x 1.5 m.

There are three types of panels: monolithic, laminate and triple laminate. The latter type was applied with a SunGuard Solar Gold 20 layer.

All panels were individually installed in 4,500 separate fasteners from 50 mm to 270 mm high. The fixing system had to be programmed with special software due to the specific geometry of the building. The final glass cover covers 2,700 square meters.

The silkscreen that provides such an impressive effect involved the use of 20 different patterns, each applied individually on the panels.

All of this contributed to the unique way in which both SunGuard Solar Gold and UltraClear are used to magnify the architecture and its appearance.

In the words of XTU Architects: "We are delighted with the final result because we believe that we have found the best solution."

Page 40

Our Newsletter is worded in:

The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with current management.

February 2017

Castillo de San José de Valderas.

The purpose of this Association is to

Avda. Los Castillos, s/n 28925 ALCORCÓN

promote, encourage and support many

MADRID

cultural activities, in the broadest terms, are related to the mission and activities

When glass culture

of the Museum of Glass Art Alcorcon.

Volume II — Number 96

Our goal is to develop and collaborate with other public or private entities in the promotion, protection and dissemination of art and culture.

Our members may be fees, benefactors, Full and juveniles.

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



Presidente honorario

Evangelina del Poyo

Presidente

Diego Martín García

Miguel Angel Carretero Gómez

Francisco Martín García

Vicepresidente

José María Gallardo Breña

Secretaria Rosa García Montemayor



Vocales

Javier Gómez Gómez

Pablo Bravo García 



Tesorera Mª Angeles Cañas Santos