Volume II — Number 46
July 2012
Monthly Newsletter
Richard Jolley . In another. Newsletters
M. A. Carretero.
Good Friends, we're running another period of timely appearance of our Newsletters.
very hard for the glass sector in general, but we also know that those who work bringing innovation and quality products, which provide atWe get a new rest and re- tractive designs and refined newal of strength to under- techniques applied to his take a new one with new creations cross the desert news, new exhibits, new with more water reserves views and new artists who than those mold and conbring to our pages. form to keep repeating the styles in their productions. Despite the tremendous economic desert we are Some day will come when experiencing, our evolution the clouds dissipate our ecois still positive. nomy. We are sure, but do Even with a slow pace, whenever we have more members and continue to increase our fans on Facebook and on our website.
Nuestra sede: Castillo Grande de S.J. de Valderas Avda. Los Castillos, s/n 28925 ALCORCĂ“N. (MADRID) info@amigosmava.org
Our newsletter continues to increase the number of recipients and we are aware, through our visits and our attendance at exhibition openings, of which there are many world artistesanos glazier who are interested in what is published in its pages. Our main interest is to spread our culture Museum and glass in general. If we do our bit to achieve this we will be very proud of. We are well aware that times are going through
not know when will this beautiful dream. It seems a truism, but it's there. Therefore, they can reach the longed horizon, not fall by the wayside for lack of resources to support this hard journey, those who do not live in agony for his mediocrity, will euphoric tunnel to a new stage ready for board the bus of progress and prosperity. We must also give value among all the artistic glass sector the respect due to their work. No samples may consent disinterest, if not contempt, that show every day actions of politicians in power who are in key positions of the bodies at local, regional level and national level can govern their making the future of our artistesanos.
street adjacent Postigo de San Martin and the logic that led protest of those affected. The absence of advertising on the conclusion of these samples of crafts. And all with a predatory pricing by the occupation of the stands and they have to pay them because their livelihood depends on it! The intoxication that are supporting our artistesanos with consensual seudoferias that abound in our cities that are offering products with a quality resale more than questionable. All this allowed, condoned and sponsored by our local authorities see this as an easy profit for their battered economies, but they are causing irreparable damage to our artistesanos, because the public gets into the same basket of healthy apples and rotten and, through ignorance of the majority, always measure the recommended option for the amount you must pay.
I will say, artistesanos friends, I'm a heavy, I'm always with the same song, but I keep insisting that marriage is the most powerful and most effective way to fight with all such nonsense and lack of interest part of our authorities in protecting our culture Very recent examples as the and your refined techniques, Craft Fair that was held refavoring the invasion of filth cently at the Plaza del Car- and garbage. men, Madrid, with a very Through September, great scarce passage of people, the infrastructure in the Plaza summer! de San Martin about to open the Craft Fair in
Page 2
Important issue: the Intellectual Property Law (XVI) M.A.C.
July 2012
S PE C I A L I NT E R E S T:
Part of the month
Normality in the CNV
Intellectual Proper- broadcast in the form TITLE VII. of the work the chan- COMPUTER PROty Law ges strictly required GRAMS. TITLE VI. Cinemato-
Javier Velasco in Valencia
Natural glass
Any modification of the final version of the audiovisual work by addition, deletion or alteration of any element thereof shall require the prior approval of those who have agreed to such final version.
Activities on the MAVA News Our activities
Volume II — Number 46
graphic and other audiovisual works.
Glass recycling How does
CONTENTS:
by the programming mode of the medium. Moral law and destruction of original carrier.
The moral rights of authors may only be exercised on the final version of the audiovisual work.
For the purposes of this Act shall mean computer program any sequence of instructions or data intended to be used, directly or indirectly in a computer system to perform a function or task or to obtain a particular result, whatever their form of expression and fixation.
The destruction of the original support of the audiovisual work in its However, contracts final version. For the same purposes, for production of authe term computer Radio works. diovisual works esprograms also include sentially through the The provisions of this their preparatory depublic communicaTitle shall apply, as sign. tion of broadcasting, appropriate, to broshall be deemed The technical docuadcast works. granted by the autmentation and user hor, unless stipulated manuals for a program otherwise, the autshall enjoy the same horization to protection as is afforded to this Title programs.
Part of the month
3
Established artists
4
Young artists
4
Normality in the CNV
5
Javier Velasco in Valencia
6
Research line
7
Activities in Museums
8
Conference: Natural glass
11
Activities on the MAVA
12
More about "The Trinity"
13
The Glass in the Prado
14
Technical Glass
15
News
16
Culture 2012
16
• Understand the needs of customers
Restoration in Malaga
17
through the interest shown in the wide
Roman glass in Japan
17
The glass museum
18
URGENT NEWS World of Glass. Moscow 2012.
variety of products; • Increase brand awareness and reinforce the image of company / factory in front of customers;
Staiend glass in Guadalupe 19 Glass recycling
20
Cultural tours
21
Culture 2012 Programme
21
Convention at Navarra
22
Children Guarataro
23
Glass art film
24
Other trends
25
Corning expansion
27
Glass workshop in Murcia
• Explore the potential of the glass market, identify new trends in product development; • Improve the distribution system; • Expand customer base through new contacts established during the celebration of the fair; • Conduct market research to discover The International Fair World of Glass,
the needs and expectations of poten-
Moscow 2012 held on 13 and June 16
tial customers.
last has been organized by the Mos-
There have been more than 180 partici-
28
cow Expo Center and has received
pants and 250 exhibitors from many
Mona Hatoun
29
more than 19,000 square feet of space
countries such as Austria, Belarus, Bel-
Lightweight glass
30
to display products related to the glass
gium, Bulgaria, Great Britain, Hungary,
industry.
Germany, Israel, India, Italy, Kazakhs-
Glaziers returning
31
This year about 9,000 expected trade
tan, China, Poland, Russia, USA, Turkey,
How does
32
visitors and lovers of glass products
Ukraine , France, Croatia, Czech Repu-
Genoveva Garcia
33
worldwide.
blic and Finland. What about Spain?
The International Fair World of Glass,
This year will be a great year for those
Glass Art 2012
34
Moscow 2012 meets the interests and
working in the glass industry as it has a
Angela Teunissen
35
Glasstec in Dusseldorf
36
creates a perfect platform for professio- higher interest reflected in the number nal dialogue between manufacturers, of exhibitors and visitors attended the
Benefits in Cantabria
37
Carlo Scarpa
38
Directorate
39
designers, architects, distributors and
fair.
others.
In addition the organizers are schedu-
The World of Glass, Moscow 2012 repre- led to hold a contest on the following sents a high degree of business world-
topics: "Properties excellent products"
wide.
and "Success in product quality."
The fair offers a unique opportunity to:
The winners will take many awards and
• Introduce new products or brands to
proposals of the Russian trade sector.
specialists;
Page 3
Part of de month. Václav Cigler. compositions.
July 2012
In museums, the most common type of work - design and supervision on their own, not by his hand-made objects are optical glass with geometric shapes more or less complex, as this work of MAVA.
Volume II — Number 46
Cigler pioneered the 60 of this form of sculpture called prism which would be added later and Marian Karel Zoritchack Yan. In 1967 he first exhibited these works in Spala Art Gallery in Prague, becoming part of the works brought to the Czech Pavilion at Expo '67 in Montreal, earning a distinction (CZECH GLASS 2005: 56). But perhaps the best work of Václav Cigler his architectural projects are executed by order, as performed at the Embassy of Czechoslovakia in Stockholm (1966), the luminous objects in the National Theatre in Bratislava (1967-74), water sculptures the World Expo in New Orleans (1984), "Pendulum" (1997) in the Digital building in Prague, etc.. Václav Cigler is part of the same generation as Stanislav Libensky ', Rene Roubicek, Vladimir Kopecky' and Jaroslava Bryctová, the first after World War 1. As Libensky ', studied first at Novy' Bor and then at the Academy of Applied Arts in Prague with Professor Kaplicky '. In 1957 he exhibited for the first
time his work at the Milan Triennale and later in Brussels Expo '58, Expo '67 in Montreal and Osaka '7. Throughout his creative life Václav Cigler has made three types of works, sculptural objects in glass optical design monumental lamps and jewelry, and architecture projects and
Between 1965 and 1979 he directed the Department of Glass and Glass teaching the course in Architecture at the Academy of Art in Bratislava, Slovakia, while Libensky 'did at the Academy of Applied Arts in Prague. They then both have made their mark on the work of many generations of Czech and Slovak artists.
Page 4
Established artists. Richard Jolley.
After numerous exhibitions Mark R. Leach's Mint Museum of Art in Charlotte, North Carolina, organized the first exhibition of glass sculpture by Jolley in 1997.
July 2012 Volume II — Number 46
Our Web
Then, in 2002 Richard Guber, then head of the Ogden Museum of Southern Art and Stephen Wicks, Curator of the Knoxville Museum of Art, organized the first major retrospective of the artist, exhibition traveled to 14 museums in the U.S. for five years.
Richard Jolley was born in Wichita, Kansas in 1952 and then moved in his youth at Oak Ridge, Tennessee. In 1970 the artist began his studies at Tusculum College in Greenville, Tennessee. His studies of the glass made under the supervision of Michael Taylor. In the fall of that year, Jolley perfected his technique in Penland School of Arts North Carolina under the instruction of Richard Ritter. Jolley continues the teaching tradition in Penland glass often through programs designed to engage students at risk of the Knoxville community with professional artists. Maintains a glass studio in Knoxville since 1975. Richard Jolley has participated in solo museum over 65 exhibitions and galleries throughout the
country and in Europe and Japan. From early in his career, Jolley had been included in some of the most important exhibitions in the world. Museum of Modern Art, Hokkaido, Sapporo, Japan in the Glass Exhibition in Kanazawa, Japan, and the Grounds for Sculpture in New Jersey and Laumier Sculpture Park in Missouri. During the next decade, the artist continues to include their works in major museum exhibitions of contemporary glass and sculpture, as the Indianapolis Museum of Art, Museum of Fine Arts, Boston, Renwick Gallery of the Smithsonian American Art Museum and the Carnegie Museum of Art and more recently in the Wornick Colection exhibited in the Museum of Fine Arts, Boston.
Young artists. Michi Suzuki.
Since 1973, the artists' work is widely collected both privately and by public institutions. It is found in over 33 public collections, notable establishments including Carnegie Art Museum, Corning Museum of Glass, Knoxville Museum of Art, Los Angeles County Museum of Modern Art, Museum of Fine Arts, Boston, Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, and Frederick Weisman Art Foundation in Los Angeles. In 1998, the Tennessee Arts Commission selected the artist to participate in an exchange of Tennessee Artist / Israeli Culture, and in 2009 began to exhibit his work in the Litvak Gallery, Tel Aviv, Israel. Then in 2011 the artist was invited to make a new series of art in the study of Berengo, Murano, Italy. Current commissions include sculpture "Everything and the Cosmos" (2007) installed at Seven World Trade Center, New York City and glass next largest installation at the Knoxville Museum of Art to be completed in 2013.
Our web
workshop in Japan in Yamagata and teaches the techniques of making stained glass. Lemonglass still active today. 1997 First trip to France. The following year, Michi Suzuki lives in Paris where he studied painting at the Ecole Nationale Superieure des Beaux-Arts in Paris. 2000-2004/2005 Works with glass artists such as Jean-Pierre Baquère or Fabienne Picaud. 2006, studied at Cerfav (European Centre for Research and Training in Glass Arts) Vannes-le-Châtel, with the help of a grant from the Ministry of Culture of Japan. 2007. He specialized in Ikaalinen School of Crafts and Design in Finland.
Michi Suzuki was born in Yamagata (Japan).
courses in private workshops in Japan.
He spent his childhood in this village in northern Japan.
1996 took courses at the Institute of Glass Art in Tokyo to complete his knowledge of the art glass torch section.
Very young, he learned calligraphy and received the rank of 7th Dan. 1989 to 1995 Michi is stained glass
Lemonglass. She creates her own
2007-2008 exhibited his work and conducts many workshops in Europe: Hamburg (Glasdesign), the School of Crafts and Design Ikkalinen Finland, the University of Sars glass ceramics, in northern France, at the National Center Foundation glass in Segovia and the internationally renowned artist Diana East, England.
Page 5
Normality in the CNV of La Granja.
Volume II — Number 46
July 2012
The activity of the National Glass Centre (NSC) on Friday returned to "normal" as the director of the National Glass Centre Foundation, Aurea Juárez. As announced from the Centre's management, the entire workforce, consisting of 55 workers has been incorporated to work after the second record of employment regulation (ERE) which were from the last January. Aurea Juárez assessed the situation as "completely normal" for both workers and for the School of Glass and
Employment Workshop. In this sense, explained that an advance of the grant approved by the Board of 200,000 euros from Banco Santander has made possible the resumption of activity. For his part, President of the Works Council, José Luis Duque, said that complete normalcy was returning on Tuesday, as "for technical reasons the furnace blower needs a few days to start back to work one hundred percent." Jose Luis Duque, as stated earlier, noted that the center
will face a challenge in the coming months, in order to maintain the viability of the center. For his part, Mayor of the Royal Site of San Ildefonso, Jose Luis Vazquez, has said "I'm really happy, but wisely." Vazquez said the effort by employers, by management and by workers in the National Glass Centre. "This effort ensures that 2012 will be able to afford", but "moderation because it depends on the viability of these seven months of 2013," added the mayor.
Page 6
Javier Velasco in Valencia.
Volume II — Number 46
July 2012
Its development developed in the same space of the cockpit, has taken more than a month of work. Velasco acknowledges that "this is usually a recurring motif in my way to work with the facility, and I think it is an act that enriches the work to be shared as creative experience." The exhibition is completed on the second floor with exposure of the preparatory work, six paintings and a video, made by a group of collaborators who have helped in shaping Velasco this stage, from idea to final work.
The regional secretary for Culture and Sport, Rafael Ripoll, presented at the Sala La Gallera, the work of artist from Valencia, Javier Velasco. Ripoll explained that this exhibition, entitled 'The seventh circle', is inspired by the Hell of Dante's Divine Comedy transforming this historic monument of the nineteenth century, in a storm of red glass that recalls the fire or blood and power is about life and death. " Ripoll was accompanied by the artist and the managing director of the Consortium of Museums of Valencia, Felipe Garin. Velasco has become in recent years in a reference artist, well known in the art community of Valencia and prestigious in the rest of Spain. So write in their catalog art critics, Fernando Castro and embodies Gimenez, besides the Lit House director of Madrid, Jose Guirao, recognizing great admirers of the work of Velasco.
These are: Mar Dominguez, Andrea Gussi, Regina Quesada, Juan Carlos Rosa Casasola, Lord Cifrián (Esther Lord and Carmen Cifrián), Nikita and Daniel Vilar Solovykh Grijalva.
hall since "there is no space in Valencia where the symbolism, architecture and contemporary art are In the exhibition catalog Velasco fused in a very evocative and inspi- explains that "considerations of maring for artists" Ripoll said. terials and structures potential to bring to fruition a project, have now Referring to the seventh circle of broken for these premises, making Hell in the Divine Comedy, a work on which many artists and intellec- 'the team', even occupying a significant and discrete background on tuals have pondered throughout many occasions, has an importanhistory, Velasco creates a scene ce in what is ultimately the artistic that moved to the present tries to show the moment of uncertainty in experience. " which man lives to face the unkThe exhibition will be in the cockpit nown or the feeling of frustration to until the end of October, when trareach impossible challenges. vel to Miami, with the cooperation Javier Velasco has recognized that "the exhibition space of the cockpit is certainly one of the most unusual for any artist to make interventions specificati site and knows adapt their expression to both the architecture and its history and origin."
"In my case, I tend to facilities that fit the structure of the building and at no time do not try to alter what already exists. Rather, my job is to promote and play with the conAccording to the Regional Secreta- cepts that the building comes from ry for Culture and Sport "Javier Veits past and present. My glass instalasco has established a unique sty- llations, often ethereal and little le in the area of the facility with the heavy, so it is through the lights use of unusual materials in the arts when they come to life and this such as Murano glass, paint or "said the artist. chrome mercury." This time the installation, which is So has recognized the work of Vesuspended from the ceiling levels, lasco "is born and develops in the consists of 94 branches of red glass, same space Gallera vindicating which extend very long filaments the traditional nature of the artist in from the sky to the ground, wanhis work." ting to touch or almost caress the viewer. At the same time expressed his satisfaction for having kept the space The installation remembers the bloof the cockpit as exhibition od and the power of this about life and death.
of the Cultural Center of Spain in Miami. Biographical Javier Velasco (Cádiz, 1963) began his career exhibition in 1993 in Seville. Over the years his prolific output has led him to make more than a hundred samples of many Spanish cities, and shows his work in various projects around the world and the U.S., Mexico, Japan or Germany. In addition there are numerous public and private institutions within and outside Spain those with his work. In Valencia and in the exhibition program of the Consortium of Museums has been part of several group exhibitions, most recently in the collection "Art and health" of DKV has been seen this year at the Centro del Carmen. Also present at Valencia '100% 'in 2010 and' Peregrinatio 'in its 2007 edition. MAVA is exposed in his book "Body of Glass".
Page 7
Line of research: Inclusions (V).
Volume II — Number 46
July 2012
Estefanía Sanz Lobo.
Failure to do so, we would risk creating large bubbles around the chips.
with green mica.
The effect is very different if the surface (top) or under glass (below). There is another procedure to Note the sharpness of the creaprevent air pockets, is to make a ted form. pre-cooking of chips on the Fig 4 is formed by a sandwich of glass base, we must raise the temperature until the complete three glass having a thickness of 3 mm each. The glass in the infusion (the merger raised or tertermediate layer have been cut mocollage not prevent air ento create the form of a thick litrainment, as that the shape of ne, which is then filled with crusthe chips is maintained). hed glass frits and transparent. However, for the creation of inTo increase the sense of depth, ternal volume this procedure is has been in the red enamel not very suitable, because the glass surface (enamel for third forms created with the fries less fire - overglass-ceramic). clear. On the other hand, is more expensive in time and power. The test of Fig 1 is made by the process of a single firing, surrounding the chips (in this case the house Bohle, yellow and redgrained 1, the darkest gradation are Violet 3, moreover, in the center colored area is transparent ground glass).
Factors favoring the perception of depth when using frits and glazes. Experimentation has led to the conclusion that they are mainly three ways of working that increase the sense of depth and internal volume of the works. • Several layers.
The more layers of glass have The effect produced is of a glass the work, the greater the chanenclosed area under a transpa- ce of introducing forms at different layer; can see its thickness. rent levels, I mentioned that each form serves as a spatial reIn Figure 2, clear glass surrounded himself with a form created ference for others. with fried green and blue mixed Moreover, one should not forget that the workpiece surface by i
tself constitutes a layer, and can be worked in many different ways. • Sharpness of forms. When cutting and delimiting with transparent glass areas in which chips will color or glass powder is easier to perceive the thickness thereof and also favors the perception of various forms in different superposed layers of glass. When working with thick chips, as mentioned above, it is necessary to surround with clear glass of the same thickness, facilitating the delineation of forms, but this clearly is not as easy to achieve when we work with stained glass grinding or between two glass enamels, especially if we sprinkle to prevent the formation of marks (brushstrokes, waste resources, etc..). In this case may be useful templates using cardboard to protect certain areas of transparent glass to act as reserves. If it is desired to create a sense of depth unbounded forms, most bubbles occur when fired enamels between glass also serve as spatial reference elements when they are in different layers of glass.
Page 8
Volume II — Number 46
July 2012
Activities in Museums I.
Page 9
Volume II — Number 46
July 2012
Activities in Museums II.
Page 10
Volume II — Number 46
July 2012
Activities in Museums III.
Page 11
Conference on natural glass. These glasses can be classified into the following groups:
July 2012
Impactitas: caused by melting of rocks where the meteorite fell. Tektites: are caused by the spray produced by the impact. Some spatters can leave the atmosphere and fall back on Earth.
Volume II — Number 46
There were several theories about the origin of tektites: impacts on the moon, lunar volcanism, volcanic glass, artificial human source, etc.. But it has been concluded that splashing is meteorites impacts. The distance that tektites are found regarding the impact is due to the rate of fall of the meteorite.
On May 22 we attended the Gemological Institute Españos the conference "Glass, the poor relations of gemology" given by professor D. Luis M. Zapatero Ramos.
fields are in Mexico, Guatemala and Ecuador.
Obsidian was widely used by preColumbian civilizations. Especially for domestic purposes, warriors, orDoctor of Pharmacy, University Lec- namental, ritual, surgical and meturer, Diploma in Gemology from dical. the Autonomous University of MaThis natural glass comes in several drid. colors: Brown-gray, black with whiAccording to views obtained of ve- te spots, red uniform, red and ry introduced in gemology, Profes- black, iridescent, brown, gray and sor Shoemaker is number one in our transparent. country in his specialty. Its hardness is 5 Ohms scale. He began his lecture by a definiOther natural glasses are: tion of the glass and its differences with the glass, its composition and Perlite: granular structure. It is prithat many variations exist glass. marily used in the construction secThe glasses can be classified into tor. natural and artificial. Pele's hair: thin threads of volcanic The natives may be volcanic imglass to 2 m. long. pactitas, tektites, fulgurites, lunar Pele Tears: spheres or drops. and meteoric. Pele Ooze: thin sheets. Within the main exponent we volOther natural glasses are caused canic obsidian. by meteorite impacts. Obsidian is caused by rapid cooSome impact craters originated ling of magma acid. Boomed in have been measured 480 km in the years 1200 to. C. and its main diameter.
The shapes of tektites are very diverse. The main ones are: banded, solidified spatter, ablated, microtektites. They have a high component of SiO2 and its color is variable. The ivoritas are a type of tektites have been found in Ivory Coast. The tektites have been found, mainly in Australasia, Cambodia, America, Czech Republic, Slovakia, Moldova and Germany. The Urengoitas are other types of tektites have been found in northern Siberia. The granular fulgurites are tubes that are produced by lightning in siliceous sandy soils. In short, it was a very educational conference that the teacher knew Zapatero convey in simple language and we took a very definite ideas, especially the world of natural glass. We are very grateful to Professor Shoemaker and his teachings, as we met him at the end of his talk, come to the MAVA to carry out a full tour of the exhibition.
Page 12

Activities on the MAVA. Space 0.
July 2012
The second floor, under cover, receives light from the skylight that crowns the lobby and allows overhead view of it. It has a central exhibition of emerging on either side aisles distributing various offices.
Volume II — Number 46
Space 0 Located in the skylight, but travels through the building, the work has to be at the height of the plant 0 (hall), it may invade the former. Mounting The assembly can be done in the basement and upload it to the desired height by a set of pulleys, which are installed on the second floor. From June 22, 2012 to October 22, 2012.
It tear the stairs leading to the upper floors and basement, is a straight shot blasted with wooden handrail, that links all heights.
The MAVA an open call for submission of projects where they are proposing a facility, consisting in whole Behind it opens a large window or in part by glass, to be placed in that covers the lobby and first floor. the skylight of the building of MAUpper floors and basement of the VA. Museum The details of space, description A railing circular, in the first and seand measurements are as follows: cond floor, allow to observe the Description of Space 0 installation from different heights, offering a unique vision and approThe visitor enters the building ach to providing opportunities in through the lobby, a space is topthe exhibition. ped by a skylight that provides light, organized access to the vaThe first floor is the largest and clerious rooms and shows a triple ar, only interrupted by pillars, lighheight space. ted by windows overlooking the street.
The rail allows anchors, with a maximum load of 150 kg. Light We have three sources of natural light: a zenith skylight on the second floor, another front of the main entrance and a third located behind the stairs, consisting of a large window. Make a selection of the most interesting and establish a schedule of exhibitions. Each installation will be exhibited three months. Send submissions by mail mava@ayto-alcorcon.es and if in doubt, call 911127635.
Page 13

More about "The Trinity". the Department of Culture of Seville."
Volume II — Number 46
July 2012
"We also believe that the law is abused, as these demolitions should be inserted in a new land subdivision of land, in a timely reform of the General Plan of Urban Planning (General Plan), to legalize urbanistically agreements, mandatory, the Plenary municipal March 18, 2011, and a project to be approved by the Provincial Heritage Commission requirements, ethical, legal, property and legal have not yet been produced, "he underlined.
The public platform "Save the Glass Factory Trinity", interested in the conservation of this industrial site located in Miraflores Avenue, Seville, has criticized the demolition "behind everyone's back" of various plants belonging to the set, which be carried out without specialized monitoring and technical advice on heritage.
specifying in factory machinery and disassembly of the scale of entry,
"Dating from the early twentieth century, with a piece of industrial archeology of significant value." Moreno lamented that, after the agreements and commitments expressed by the protection of the government regarding the protecPlatform spokesman and chairman tion of heritage values and draft a of the Workers' Retirement Historical master plan approach to realize Association (AHRO), Basilio Moreno, the civic center, the School Workshop and Museum Glass Factory of explained that, in addition, the the Trinity, is carrying out an operacompany responsible for the detion authorized by the Planning Demolition "dismantled and taken at partment "which has not been rewill" part of that heritage for more ported or the public platform or than one century there was kept,
The spokesman of the platform has been questioned "what asset protection is making the city of Seville from the Planning Department and from the Culture" and the role of "guarantor of legality 'Compensation Board and "Who looks after the industrial heritage of the Glass Factory, which is municipally owned, ie, all of Seville." Finally, Moreno refers to "numerous irregularities" such as those relating to treatment and classification of debris produced there, "they are not being removed as the law to approved landfills that are being used to consolidate parking ", something which, as confirmed to Europa Press municipal sources, would not be rushing.
Page 14
The glass in the Museo del Prado.
July 2012
This study has cataloged and classified typologically into three levels, and to describe its characteristics, its historical evolution and geographical distribution.
Volume II — Number 46
With the reading of this work goes a way in which the guide star is the glass under the various faces of bottles, glasses, windows, mirrors, optical instruments, laboratory objects, etc. .. that is present in the tables. Sometimes these pieces are one of the main reasons of the box, as in many taverns in other contribute to the decoration of the scene or part of it as architectural elements, like windows and glass doors. But if the cataloging and indexing of the tables contain the value of a patient and painstaking work, the special attraction for the reader lies in the magnificent reproductions of those works in which glass objects play a major role or provide a sample particularly illustrative of its most remarkable peculiarities.
Throughout its long history, glass has combined the functionality for many applications in common use with their valuable contribution to scientific development and its important role as a material for artistic creation.
A loyalty binds the pleasure of artistic contemplation. So follow the tracks left by the glass painting is a fascinating task that becomes a privilege when you have the opportunity to enter the collection of the Prado Museum to find, among the more than eight thousand picNo other means of information bettures that make up part of its artister than the painting can provide tic treasures, various glass objects documentary evidence as true of represented in them. the abundant and diverse presence of glass in the daily life of every age.
Along the long hundred paintings of the Prado Museum selected for inclusion in this book contains a particularly representative twenty paintings, kept in other museums. It also includes images of original glass pieces, belonging to different museums and private collections that serve as reference for some of the ones in the pictures. The authors, two eminent authorities in the world of glass: D. José María Fernández Navarro and D. Capel Francisco del Aguila.
Page 15
Glass techniques. Color palette (XIV).
Volume II — Number 46
July 2012
Estefanía Sanz Lobo
The test of Figure 1 was made by inserting between two sheets of glass enamels painted with various binders. The result is something internal tone dirty and opaque. You lose part of transparency. The experimental work of Figure 2 has been performed with different nail types, dry sieved, and some inclusions. The cloudy veil that had glazed sandwich parts with a brush is gone. The major difficulty of this mode of arranging the enamels is the grain size thereof.
create incisions and lines are then filled with enamel, then baked.
incompatibilities, defects and color changes of these materials.
You can also use application techniques that create texture glazes, using sponges, crumpled papers, and other pictorial procedures. In this case, naturally, it is preferable that the enamel is dissolved in an appropriate medium.
It is a technique that links the use of various procedures and materials for glass fusing, flat glass colored as compatible, frits, glazes, rods or stringers ... These pieces are distributed on a transparent glass sheet and fuse together to obtain paints.
Serigraphy
This technique is complex and requires intimate knowledge of the world of glass. It is necessary to many batches with the same piece before reaching the desired effect.
Using enamels instead of traditional paint etching, this technique can be performed on glass. Once the screen has been built, you can create the pattern: • using a brush, using a liquid for blocking certain parts of the screen
If too ground, pass with difficulty • With commercial material, a film through the sieve mesh, embotánthat can be cut as desired. dolo, and fall onto the glass heavily forming lumps. • With fotoserigrafía system using a halftone film to separate the phoThis problem is more evident with tographic image. opaque glazes. The colors should be dried and baThe problem is solved in part when ked one by one. mixed with the enamel too milled grain another slightly thicker, thus To bake several at once complex more slips through the mesh of the equipment is required. sieve. Other photographic and printing • Textures and graphics techniques on glass can be used other procedures provided that Can be created in several ways. the special glazes used are glass, One of them consists in placing a so that after firing the image peruniform layer of glaze on the glass manent. surface, using a suitable medium. Once dry, before cooking, do graf- Frit Painting or light painting fiti, scratching, etc.. Some of the artistic work proceduAnother possibility is to influence res chips have already been desand scratch the glass surface and cribed in speaking of the
They can be fried on flat glass colors extending them as the desired pattern, or placed directly on ceramic paper. Together with rods, sheets and coatings, can be sandwiched between transparent glass before melting. 3 is a picture of Narcissus Quagliata, "Unknown at Sea, 1995." Light painting with molten glass. • Creation of internal volumes. Using frits and glazes between layers of glass may create feelings of deep and internal volume. This issue is addressed in section III.2.4.4 inorganic inclusions. Materials and vitreous enamels. This piece utilizes several techniques: painted enamel on several superimposed layers of glass, and inclusions of gold leaf, silver leaf false and fiberglass. With this overlap is achieved an effect of depth or internal volume.
Page 16
N E W S (I).
Visit the School of Mines.
July 2012
formation of natural glasses, whose idea was very clear and very recently we had our assistance to the excellent lecture he gave at this same school a few days ago the scientist D. Luis Zapatero Ramos. (See page 11)
Volume II — Number 46
Then we visited the excellent school library, the chapel, where we saw some beautiful stained glass windows signed by Maumejean, the beautiful auditorium with excellent glass of the same firm cited above and other units of the School. From these pages we give our warmest thanks to our good friend Enrique Marcos Alonso for providing us the pleasure of visiting this iconic institution. On June 14 a group of Friends of MAVA were visiting the School of Mining Engineers of Madrid.
We started the visit by the Mining Museum, where we see an extraordinary collection of minerals.
One of the fellows of the institution made us an excellent tour of the various departments of the institution.
For our part, we work on increasing the cultural knowledge of our guide making a description of the
You can see a comprehensive report of this visit through this link.
Culture 2012. journey through the activity of the master Urbino his last seven years, since the beginning of the pontificate of Leo X (1513) until his death in 1520. The selection includes works exposed as famous as the altar painting of St. Cecilia (Bologna, Pinacoteca Nazionale) or the portrait of Baldassare Castiglione, the Louvre.
Last June we visited the excellent exhibition that the Museo del Prado spent the last stage of the painter Raphael and his two assistants highlights, Giulio Romano and Gianfrancesco Penni.
includes preparatory drawings by Raphael and is discussed in depth their creative process. The original painted by Raphael was commissioned by Pope Clement VII for the cathedral of Narbonne and is, after many vicissitudes, in the Vatican Museums.
The exhibition is mounted in several areas: altarpieces, sacred virgins and big families, small families and holy virgins, Giulio Romano and Por- Organized in collaboration with the Louvre Museum, which will host the traits. exhibition as a second home, the Complete this shows the painting exhibition offers a journey through "The Transfiguration" in room 49 of more than seventy works, forty the Museum. It is a copy painted by paintings and thirty drawings, which Giulio Romano and Penni and also are presented in a chronological
It also highlights the broad representation of major works of his disciples, Giulio Romano (c. 1499-1546), who was the assistant Rafael most talented, and Giovanni Francesco Penni (1488-1528), who, under the strict control of Rafael, participated actively in the workshop last orders. In Giulio Romano devotes an exclusive exposure and in which the works are free from the tutelage of master, developing trends of its author in such ambitious works as "Stoning of St. Stephen." It also highlights his paintings that the Museum of Prado retains its mature stage, including the large table is transferred to canvas "the shock of Sicily" (1515-1516), shown in the sample for the first time after its restoration.
Page 17
N E W S (II).
Restoration of "The Annunciation”.
July 2012
For anyone who wants to see a little
the month of September and ever-
of the process, the restoration will
yone will see in the Museum's per-
take place the weeks of 17 to 20
manent collection.
and from 24 to 26 July in time from 17:00 to 19:00 h.
For anyone who wants to see a little of the process, the restoration
The Museum of Glass and Glass Ma- will take place the weeks of 17 to
Volume II — Number 46
laga informs us that: Dear friends. We are pleased that during the second half of next July will be carried out in the courtyard of the Museum, the restoration of part of the new window "The Annunciation" by Charles Eamer Kempe, and that in
20 and from 24 to 26 July in time from 17:00 to 19:00 h. We hope this information is of interest and have their gracious presence. Best regards. The Management.
Glass in a grave in Japan. Small glass gems were performed using the technique of overlapping layers, a relatively sophisticated method in which successive layers applied Roman artisans glass, and between which often interspersed gold leaf, which gave the golden color. "This is one of the most ancient layers of glass found in Japan, is a very rare accessory that is believed to be made in the Roman Empire and later came to Japan," said Tomomi Tamura, a researcher at the institute. Perhaps the jewel came to Japan through a Chinese or Vietnamese trader who did have contact with embassies and Roman traders. Or maybe it was transported to the islands by a Japanese traveler returning from the continent …
Archaeologists find objects in a tomb Roman Empire of Japan. The recent discovery of remains of Roman origin in V century tomb near Kyoto in Nagaoka, Japan, opens new avenues of research on the scope of cultural exchanges between the giant West and Asia. These various glass beads, according to researchers at the Nara Institute could be dated between the first century and the fourth century AD.
The glass jewelry have been discovered in the tomb 'Utsukushi' fifthcentury. Tests conducted by the experts have established that it is glass beads of about five millimeters in diameter, joined by small pieces of gold. The beads are made with natron, a chemical used by the artisans of the Roman Empire between 27 BC and the fall of Constantinople in 1453.
The truth is that this new finding opens new avenues of research on the influence of the Roman Empire in Asia. The researchers will now focus on trying to find out how the little gem of glass made the long road that separates Rome from Japan, about ten thousand miles ...
Page 18

The glass in Museums: Hsinchu.
July 2012
Creating Glass Museum seeks a combination of cultural resources and tourism to help the promotion of Hsinchu glass industry and let the public and businesses to participate and understand the exploration and application of industry Hsinchu glass.
Volume II — Number 46
In addition to displaying glassware, the museum shop also promotes active learning. The public can go there, playing and creating their own works, as well as visual assessment and get other amazing experiences, brought by the glass creations.
The Hsinchu Glass Museum is locaAutonomous planning was entrusted in northwest Hsinchu Park in Tai- ted to architect entire Tieh Chi-Nan wan, and was officially opened on Kuo and Professor Chen-Ning. December 18, 1999. The museum has retained the EuroThe Glass Museum was rebuilt from pean style of modern architecture the Autonomous Club House, built through oriental bricks at the foot in 1936 for the use of accommoda- of the southeast corner of the builtion and celebrations where the ding and the classic image of the Japanese royal family and govern- lobby. ment officials came to Taiwan to After combining different needs of make their visits. users of diversification into the muA home atmosphere pervades seum as the length and analysis of both recreational garden space the five functions of the museum outside and inside the building, service (administration, exhibition, much more adapted to the exqui- collection, learning, education site and delicate features of the and public service) and the latitucraft of glass. de and environmental condition of the museum, was established in Direct the work of reconstruction accordance with them. and visualization of the Club House
The arrangement of initial building of the museum was as follows: The first floor contained a lobby, office, meeting room, a billiard room, a toilet, a kitchen and dining room. The second floor consisted of a bathroom, dining room, four decks of Japanese-style tatami and several rooms. After being restored as the Crafts Museum Chuchian glass, the first floor contains an exhibition room, an audiovisual room / conference and a meeting room. The second floor houses a permanent exhibition area, a glass bridge and a room for the collection. The building, originally used for the reception and entertainment of the guests, now has become a space for the display of local art.
Page 19

The Treaty of Guadalupe Monastery Windows (III). which are often divided among themselves by some kind of racks.
Volume II — Number 46
July 2012
These individual panels could eventually constitute in themselves a small window, while not usual, so the window-type spoken in the text would be truly individual panels of geometric modular repetitive, designed to form part of a larger composition.
the second half of the sixteenth One consequence of this situation century until the late eighteenth century, are implemented more discussed is the fact that througquickly and therefore much cheahout the manuscript is transmitted in all operations and processes des- per than bearing figures and colored glass and are also markedly cribed an apparent willingness of austerity, efficiency and economy. functional. Fernando Cortes Pizarro.
This aspect is reflected when the author teaches us different ways to save materials and care of both of these as tools, given its high price and difficulty of supplying with time, or when he insists on not discard waste materials that could return for use later, or recommended building stained glass designs glass fragments.
Regarding the use of paints cooked, either to represent or ornamental figures in the manuscript no mention is made to this topic.
I am of the opinion that, rather than ignorance, the author ignores this issue since the monastery was traditionally preferred the geometric windows and simple white, much more austere and economiIn this sense, when referring to abo- cal compared with the colors and figures painted and baked in the ve basic necessities, we must not oven. forget that the type of glass from those discussed in this treaty are It is also necessary to further clarifinot decorative or ornamental glass cation regarding the use of the large-in fact there are no stained word "bedriera" or "window" as is glass and paintings cooked, but mentioned by the author in the rather the so-called "white glass" manuscript. typical of the time. At present and in most cases, the This type of glass, composed only term "window" often refers to a tyof colorless glass and lead profiles pe of closure of a window compoforming simple geometric patterns sed of several panels or panels, and that both were popular from
In this sense, most of the drawings of panels that appear in the text are rectangular in shape and have very similar measures, which if moved to a scale that would give panels range between 70cm wide x 83cm high, this is relatively common measures for most of the panels of the time and not a window. 10 In a few other concrete panels are square, being its measuring approximately 40 or 50 cm per side. Thus, although the author does not mention it, it is likely that most of the windows of the monastery were larger than that of these panels and therefore need several of them to close each span. Read commented on the various aspects of the treaty As we saw in recent years there have been several studies on the Treaty of Guadalupe approached from different perspectives (see bibliography), so it is not the intention of this article insist on matters already dealt with elsewhere. The type of reading that would make the manuscript is focused mainly in the commentary, from the perspective of a glazier-restorer present the technical aspects of the trade and craft of glass making, reflected by its author and so abundant and important in each chapter the manuscript.
Page 20

Recycling. Pilot project in Turkey. allocated for experts from other nationalities.
July 2012
Eligible businesses must provide experience in waste management and particularly in glass recycling. They shall have operational experience in glass management programs in Eastern Europe or at least
Volume II — Number 46
one of the countries where the EBRD is present. The project will have a significant potential impact on the country due to economic and environmental benefits that recycling is glass. Is a material that is recycled in an
The European Bank for Reconstruc-
technical assistance for creation of
tion and Development (EBRD) has
a pilot project for recycling of glass
made public the announcement
as well as the development of a
of the expressions of interest from
medium-term program manage-
glass recycling project in Turkey.
ment of recycled glass in Turkey.
ducing the energy required for mel-
The total project is 250,000 euros
It is anticipated that the assign-
cess efficiency due to the reduction
and will be funded through the
ment will last for ten months with
in the amount of material needed
ICEX Fund Consulting.
the possibility of extension accor-
for production.
The project consists of three main
ding to the project development
approximately 100%, and which is recycled after the treatment a significant savings in costs, such as reting the glass and increased pro-
and emerging needs.
As a result, the production of glass
existing infrastructure and policies
It is intended for Spanish consulting
carbon 5%.
in reference to glass recycling,
firms, however, 30% of funds be
elements, first market research of
recycled through a reduction in
Page 21
Our activities.
July 2012
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.
Cultural Tours. When we have our hands on this
good book, good exposure, .......
long awaited book, we'll go to the
We had a lot of time waiting for the
Prado Museum and go walking
book's authors could find sufficient
those pictures that have a specific
funding for editing.
mention in the text, in order to get
Volume II — Number 46
a taste of the object visually in each case is noted and analyzing the context the table that appears.
One of them, Paco Capel, and informed us of the painstaking work they had carried out the teacher and he Fernández Navarro, and the number of hours that were spent in the mu-
We imagine that we can not do it
seum carefully analyzing each of the
all "a jerk", but we will little by little,
tables that were detected the exis-
that if we can use such a simile, it
tence of a glass object.
is best savored like fine wine, a
Culture 2012 Programme. most important artistic projects undertaken in Seville in this period, which introduces the viewer squarely in the Baroque heart of Seville and its fusion of art, religion and culture . In addition to works from the private collection of Justino de Neve, others were commissioned for the church of Santa Maria Seville White (whose reconstruction was overseen by him), the Cathedral and the Hospital of the Venerable Priests, clerics institution for the canon had helped to found. Neve is revealed in this sample as a patron of some of the most outstanding and original painter from Seville, as the four large lunettes of the Foundation of Santa Maria Maggiore, three of them restored for the occasion, and the Immaculate Conception of the Venerable (also known as the Immaculate "Soult") of the Prado Museum, which is displayed with its original frame which is currently deposited at the headquarters of Focus-Abengoa Foundation. In this July will return to the Prado Madrid and Seville, among other Museum to see the exhibition of cities, from his relationship with Don Justino de Neve, canon of works by Murillo. the Cathedral of Seville and imExposure Murillo and Justino de portant patron and friend of the Neve. The art of friendship meets artist. a set of seventeen artist's later works, from museum collections All the pictures shown is an excellent example of some of the in London, Paris, Houston,
Also shown are the allegories of Spring (The Flower), restored for the exhibition, and Summer (Young man with a basket of fruit), the Dulwich Picture Gallery and the National Gallery of Scotland, respectively, and some paintings refinadísimas religious themes on obsidian from the Louvre Museum and the Houston Museum of Fine Arts (Rienzi).
Page 22

Framework agreement.
Volume II — Number 46
July 2012
This collaboration is in addition to sponsoring five scholarships for the conference 'The Common', organized late last June, the Architecture Foundation and Society, and Guardian offered five students of the School of Architecture at the University of Navarra, and the talks 'Glass, reflections' that experts have been conducting Guardian on campus in Pamplona.
The University of Navarra and Guardian, a leading producer of flat glass in the world, have signed a collaboration agreement.
The agreement was signed by Jean Luc Morabito, president of Guardian Glass Spain and Portugal, and Mariano Gonzalez Presencio, director of the School of Architecture.
The agreement provides for the holding of an international seminar on building solutions with glass. The agreement provides for the holding of an international seminar The School of Architecture at the on building solutions with glass. University of Navarra and Guardian Glass have signed a collaboration Also, enhance research and traiagreement. ning of students and graduates in the use of this material in construction.
Founded in Detroit in 1932, Guardian Industries focuses its activities on the manufacture and processing of glass for construction, automotive and furniture in plastic injection for automotive and fiberglass construction. Present in the four major continents and nearly 20,000 employees, Guardian has become the third largest producer of flat glass in the world. In Spain, Guardian has two production facilities and processing of glass, a plastic injection factory to the car, a national network of shops automotive replacement of windows and a network of warehouses for distribution and marketing of their products.
Page 23

Guarataro Children Foundation.
July 2012
which is located in the Royal Glass Factory at La Granja in Segovia, Spain. With an average age of 15 years, the boys will take four years to graduate with a degree in Spanish institution. Another part of the value comes from the quality of learning materials imported to work.
Volume II — Number 46
The rest is pure talent and work. As a school created to give them a real way out of poverty and social anonymity to the youth of the village, there is no commercial production workshop. What students make academic guidelines are Spanish teachers who come regularly every year to teach. "Guarataro Children Foundation."
In this regard, notes that children are taught by master carvers who come from the Royal Glass Factory in Spain, who teach the processes in hot and cold working glass.
This foundation has two "Houses of day," one in Arena Blanca and another in the Honduran village of Buenos Aires South cashews, where about 190 children two and older Note that as this is a handcrafted, receive education, food and sani- each piece of glass that is made is tation facilities. unique.
Are these tasks and assignments that have begun to sell in El Progreso, San Pedro Sula and Copan Ruinas. It should be noted that there is no one similar school in Central America.
Youth learn to create wonderful pieces of glass using only the finest maAlso, mothers of boys are integraIn addition, some of the accessoterials imported from USA and Euroted into activities of these homes to ries made under the Tiffany technipe, particularly the precious Murano get involved and more engaged in que or three dimensions, are made glass. the project and grow as indiviwith Murano glass, brought from duals, learning to cook, manage Italy, which guarantees the quality Of course, progress has remained and be objects of change for their of the jewel. oblivious to the work of the foundacommunity. tion. "Next year will graduate its first class Glass school of artisans, which excites us becau- Leading doctors, accountants, arse it will be the culmination of an tists, local authorities, private compaThe other major component of the achievement that has required the nies and other voluntary agencies foundation is a School-Workshop collaboration of many people. cooperate constantly with Guarataon Learning and Work of Glass to ro Children. Training workshops provide new job opportunities for young people and parents belonWhere admire accessories Next to the collective training of ging to the project. young people, offer the opportuni- The House Project Day at Arena The work of the craft-workshop en- ty to learn a trade. Blanca has a small shop where visided in October 2009 and the first tors can see and buy pieces of glass phase of classes began in Novem- Thanks to the agreement with foun- that children produce. dations nacre (which funds) and ber of that year. the National Glass Centre This is a way to join the cause. These courses are being offered (providing teacher and technical through the collaboration of the means), over 2009 have been built You can also cooperate by making National Glass Centre of La Granja, within the precincts of the House of a donation for the Children FoundaSegovia, and are funded by the Day 2 of the village of White Sand , tion Guarataro, depositing their collaboration in the account of Banco Foundation nacre, Switzerland. a ship which houses the SchoolFicohsa 0401-09795. Workshop, where young people In this school the older kids (up to learn to work in a variety of techniEducation for development 22 years) learn to make all kinds of ques with glass, allowing them in accessories of glass and stained the not too distant future, produce For the Children Foundation Guaraglass and jewelry and the Founda- and market these products and taro education is considered as the tion aims to within a few years Are- pass on their knowledge to others. primary means of integration in sona Blanca has become a village of ciety and as a vehicle for community Glass work of great value artisans, where domestic and fodevelopment to which individuals reign tourists can get to buy glass belong, and out of the poverty in items made by experts, by real ar- Part of the value of parts and acwhich they find themselves. cessories that make the young tists. people of school-glass workshop Through scholarships is completely These pieces were carved in cold. comes from the extraordinary teacovered the cost of educating chilThe quality of finish showcases the chers who teach. dren, whether studying in private talents of the boys and is the result and public (transport, uniforms, shoYoung people are trained by the of the great training they receive. National Glass Centre Foundation, es, school supplies, tuition, etc..).
Page 24
The film features the art of glassmaking in Venice.
Volume II — Number 46
July 2012
The "Pearls of return" - concludes Mark Levy MD - is a film about the importance of learning, the responsibility to offer the opportunity, strength and determination needed to understand, and the tragic consequences that result from a missed opportunity. The film manages to achieve a key role when it comes to social moods, capturing the details of all original, well seasoned with the tones targeted by the movie camera. Be a good observer of reality, because cinema is a mirror of social situations and often is overshadowed by everyday life. "Pearls of return" The film manages to define the horizons of contemporary society, emphasizing the curious, authentic expressions of everyday decisions.
only the intention to sell the bags in the street, is what happens when we break the chain.
The answer to this difficult question is very well explained in the film, told with skill, which succeeds in Immigration is a point of view of the combining social knowledge and film company, well integrated into narration. Italian, where ethnic groups can have a meeting and discover a "The first time I met Moulaye in your mutual cultural wealth. store - said Mark Levy, MD, born and raised in Venice - asked if I It is a sign of the demographic rewanted to learn to do their job. volution, which for several years, is the undisputed bastion of integraHaving family members who work tion of immigrants. The film accura- in Murano glass, accustomed from tely represents several films. infancy to the legendary discretion surrounding the island, I smiled the Often encounters situations where first time he was offered the opporthe interests pleasant, artistic and tunity to learn. From a new pearl, cultural, are a welcome response strange, that works like no other, to a person of different ethnic oricombining traditional techniques in gin. Murano with African designs. The story is emblematic of Moulaye became the first Senegalese immigrant perlière in Venice, tells this passion, with the help of cinema, the film "The pearls of return." Moulaye arrives in Venice as a tourist. The love of glass art, refers to the confidence and passion, one of the closed environments of Italy, the masters of Murano, the island of fire. This is a new journey to a place of drama and art in danger of disappearing, carried out through the eyes of those who can not go home because we can return home only if we have something in hand. But in a country where the different color of skin is a systematic racist where having black skin is equivalent to being an illegal immigrant,
The tragic stories of immigration are so many! Describes a thousand ways the tragedies of the route through our borders. Few talk about the trip that begins after he arrived: the battle to get the job you have chosen, the necessary passion to learn, the dream of bringing something home, provided you return. Moulaye follow the streets and canals of Venice offers a unique perspective on the meeting with the great masters of Murano, with its art that is both his passion and his way of life, with the story of an island destined to die caught between centuries-old fear of sharing their knowledge and they can not compete with Asian products.
The role of film with a clear focus and quirky characterizations, ready to tell a true story, able to understand better the integration of foreigners. Only the watchful eye of film can reveal details not seen, because you can not photograph the usual aspects, perhaps hidden, hard to put before the public. The film has a key role as prying eyes, can help understand the different facets of society, often ignored by people. Mark Levy MD, Venetian doc, he worked as assistant director of authors such as Spike Lee (Miracle at St. Anna), Marc Forster (007: Quantum of Solace), Chris Weitz (Twilight: Eclipse), Lasse Hallström (Casanova), Tony Gilroy (Duplicity), Sofia Coppola (Somewhere), and the Italian directors such as Giacomo Battiato Gianluca Tavarelli, Guido Chiesa. He gained international experience on movie and advertising in the U.S., England, France, Spain, South Africa, Morocco. Since 2006 lives in New York, where he studied at NYU's Tisch School of the Arts, and collaborated with director Tom McCarthy's "The Visitor The Visitor". In 2011 produced the short film "A Chjana", winner for Best Short Film at the Venice Film Festival the same year and is currently in competition at SXSW and silver ribbon. The "Pearls of return" is his first documentary.
Page 25
Other trends. Ripolles in China.
Volume II — Number 46
July 2012
worse than others and above 'people do not' to pull the car forward all combined. Rather, they throw stones at the head and blame each other, "he laments. 'Universe Ripollés' The exhibition displays the Castellon 'Ripollés Universe', contains a large collection of 83 works divided between painting, printmaking and sculpture in different formats, most of them newly created. The catalog consists of 32 sculptures, 34 prints and 20 tables that are appreciated most distinctive characteristic of the author.
The artist most international Castellon, John Ripollés, opened last June at the prestigious Beijing World Art Museum in his first exhibition in China, the first of a series of samples that will tour the Asian country until June 2013. Faced with huge host public, the artist, who turns 80 years in September, has introduced 'lifetime' in this work, 'Ripollés Universe', which brings together a collection of over 80 works, including sculptures, prints and paintings and are distributed inside and outside the museum grounds.
and show a keen interest in being leaders in the world. " In fact, Ripollés think your desire to grow in every way contrasted with "the mistake we make in Spain, compared to investment in science, research, culture, etc". "While the Chinese, advanced economic, begin to open to other cultures, we are going in the opposite direction in every way."
And, at this point, hardens his speech against the government, before the drama of the current Spanish emigration. "The difference between those who migrated in The cultural attache of the Spanish the 50's and now is enormous. Beembassy, Ignacio Morro, who parti- fore he left peonage labor, sencipated in the inauguration, said ding money to their families in that Ripollés is the first Spanish artist Spain. The tragedy now is that he to the World Art Museum devotes leaves a generation of scientists, extensive touring as a year and a researchers and graduates that total of eight exhibitions throughout cost us a lot of money for training the country. and to be productive in other countries. What future forecast "I had to wait until you have 80 yethen we have in our country? "he ars to enjoy the shows most impornotes. tant and beautiful of my life," says the author, while recognizing in the The artist chides the lack of "spirit of Asian giant "a stunning country, in brotherhood" and "ignorance" of every way. I say that is a country successive rulers. "It lies too. We who sleeps with his eyes open, be- wanted to believe that an econocause its citizens off endless desire mically strong country were prepato know everything around them red to cushion the global crisis, but the truth has come to light. We are
The vitality of the images shown in the graphic or sculptural work, and above all, the use of color in multiple combinations constitute his letter in China, where his artistic language enjoyed a warm reception among the many attending the premiere. The museum's director, Feng Guangsheng, compared with other Ripollés concerning Spanish contemporary painting by Dali, Picasso, Miro and referred to his work as "a poem of color." The exhibition will remain in Beijing until mid-July, then travel to museums with which the World Art Museum has collaboration agreements and have funded the project. By traveling, paintings, sculptures and prints already exhibited in the capital city of the museums visited Jinan, Guangzhou, Wuhan, Chengdu, Nanjing, Shanghai and Hangzhou and is expected to close in Hong Kong, although the latter cites lack concrete. One of the exhibits also will be included in 2013 in the calendar of official events to commemorate the 40th anniversary of diplomatic relations between Spain and China, an event that the Spanish embassy in Beijing held with different economic events, social and cultural.
Page 26
Casa Lis Museum in Bilbao. painted by the Basque artist Ignacio Ipiña in landscapes dominated
July 2012
by Salamanca and Bilbao. Alfonso Fernandez stressed that Iñaki Mañueco Azkuna is a lover of Salamanca and the figure and works of Miguel de Unamuno. He recalled that a man of his word because, when the December 31
Volume II — Number 46
could not attend the annually pays tribute to the writer and thinker Salamanca Bilbao, Azkuna already announced that during the 2012 "Year of Unamuno", come to Salamanca. "The thoughts and writings of Miguel de Unamuno built bridges so strong Alfonso Fernandez Mañueco recei-
The mayor of Salamanca, Alfonso
that today, 75 years after his death,
ved the Mayor of Bilbao, Iñaki Aku-
Fernandez Mañueco, has given
are joining his hometown, Bilbao,
na, who gave a reproduction of
the alderman of the city of Bilbao,
and his adopted city, Salamanca,"
the jurisdiction of Salamanca and
Iñaki Azkuna, who visited the Town
said Alfonso Fernandez Mañueco.
a piece of blown glass that is part
Hall, with reproduction of the juris-
of the collection "Milky Way" of the
diction of Salamanca and a piece
Museo Casa Lis.
of blown glass, handmade is part
The Museum of Art Nouveau and Art Deco Casa Lis will be promoted in The Corn Exchange Bilbao, cultu-
of the careful collection " Milky Way "at the Museum of the Casa Lis.
The mayor felt that this union between Salamanca and Bilbao, is reflected also in the 48 paintings by Ignacio Ipiña with "gray Bilbao and Salamanca golden melted forever the emotions of Don Miguel" with
ral and commercial center of the
Following their meeting in the City
familiar places to Unamuno and
municipality, which can be pur-
of Salamanca, Alfonso Fernandez
Inaki Azkuna as Round Street, birth-
chased from the forthcoming self-
and Inaki Azkuna Mañueco visited
place of the philosopher, to Cross
produced products already sold in
the exhibition hall of Santo Domin-
Street, where he lived many years,
the museum shop Salamanca.
go "Traces de Unamuno," which
the Canton of the Seven Streets, Itu-
brings together 48 paintings
rribide, la Rua or the Puente de San Antón.
Page 27

Corning Expansion.
July 2012
The new north wing will have an innovative facade of white aluminum and glass. Which will emerge sheets perpendicular special ultra-thin glass. These materials are juxtaposed with the black exterior of the building restored, creating an interesting dialogue between the two structures.
Volume II — Number 46
The project is slated for completion by 2014. The Corning Museum of Glass Glass houses the world's largest, with more than 45,000 objects reflecting 3,500 years of art and history of glass making. The museum is dedicated to art, history, science, research and exhibition of glass. Exhibits and activities are suitable for all ages. The Corning Glass Museum has unveiled its plans for expansion at a cost of $ U.S. 64 million, which when completed, will make the museum in the world's largest space dedicated to presenting contemporary art in glass.
decided to take to relieve pressure Better still to behold the miracle of on the successful and visited the glass making is that you do it youroriginal museum, which receives self! 400,000 visitors each year. A forty-minute workshops offer visitors Phifer's design creates 26,000 squa- of all ages the opportunity to make re feet of space for a gallery full of their own souvenir glass. light bathed by making available Designed by New York architects an optimal environment to appre- Each project has a charge of $ 10.00 Thomas Phifer and Partners, the ciate the works of art. - $ 40.00 USD. Ask at the Information project includes the creation of a Centre for tickets or additional inforThe design also includes the renonew north wing with bright gallemation. ries, and one of the largest facilities vation of the ventilation systems of We recommend booking tickets in for live demonstrations of glass blo- the "old glass factory" Steuben, building adjacent to the existing advance. wing and glass. museum building. The project is funded entirely
Page 28
Glass workshop in Murcia (XIII).
Volume II — Number 46
July 2012
JIMENEZ PEDRO CASTILLO JULIO NAVARRO PALAZÓN JACQUES THIRIOT
On this preparation was applied a rather rude mud plaster as a finish. The mouth, disappeared in its upper part, shows signs of what would be an arched top (Plate 25), was opened northward to an ashtray just because we documented was affected by a posterior fossa. We could not document any remains of the upper chamber of the grill nor, except the start of its six fireplaces perimeter. The function of this furnace, similar in form to those employed in the potteries and completely different from the rest of the workshop, it is difficult to elucidate so we propose two hypotheses: 1 st serve for heating ceramic crucibles used to contain glass frits. 2 nd that was intended to accommodate the newly blown glass pieces to cool gradually. According to the first hypothesis and taking into account the footprint of the furnace crucible 2 documented, would have 28 cm diameter and a height approximately equal, it would be possible to cook at 35 crucibles, arranged in heights of 5 7 crucibles, however There are serious objections which we shall discuss. Defender pottery kiln function is to accept that there must have been Puxmarina facilities for the preparation of the clay and making parts that have not found any remains. It would be logical to assume that a large Madîna as Murcia, in which there were many potteries, be much cheaper to order
the pots to a ceramic workshop to try to make them in the glass workshop.
with upper chambers.
The center position of oven 5 may be another argument for its use as annealing or cooling spaRegarding the second hypothesis should be clarified that the ce. gradual cooling process is essenThe oven of the square Belluga tial once blown glass pieces as The site that appeared is approxithey break otherwise. mately 50 m east of Puxmarina workshop on the corner of the That is why the treaty of alSaqati hisba (Malaga, XIII centu- square with the street Belluga Pory) specifies that "prohibited on lo de Medina (Fig. 2). glass to make the glass furnace The excellent state of preservawhere it is cooling before he has tion allows more safety study and completed a day and a night. compare Puxmarina ovens. This is because it will crack if you withdraw before the deadline. " It is an oblong plant structure is practically oriented east-west, is 4 This is reflected also in the Alpm long and 2.80 m wide and has honsine codex known as the Laa height from the bottom of the pidary: "Stone is slightly melted in hearth of 1.25 m (Fig. 19, Fig. 26). the fire, when they drew et dell, it seems to its substance. The interior is particularly well preserved almost all of its U-shaped But if you bring forth out soul bench, which shows the traces of grew less than in poc poc is cothe crucible (Plate 27). ol, quiebrase ". On the bench was where the frit The cooling could be carried out codified, possibly colored, in separate furnaces or chamaround a central basin, rectanbers that took advantage of the gular, which served to prepare heat of the same melting furnathe primary glass, and that extence where the glass adjacent to ded to the west by a moat, as an the space where the crucibles appendix, was outside of its cirwere placed or situated on it. cular perimeter. The latter type is documented in The outside of the oven, best prea miniature manuscript Hrabaserved in the west, was built of nus Maurus (IX) from Monte Casadobes (some reused from a presino and a thumbnail of the vious issue), baked bricks, stones, Cantigas Alfonsine. fragments of crucible and furnace, with green vitrification, all The cooling chambers are named Mahmas kawwara or glass made with clay. workshops in the traditional Arab Bricks and bricks, whole or incomworld. plete, are generally in radial position, externally surrounded by a In none of the excavated kilns ring of vertical bricks that protect have found any remains that might indicate the existence of the lower part of the construction. The wall has a width that a cooling chamber disposed ranges between 48 and 57 cm, horizontally with respect to the core of the furnace, but can not reaching even 70 cm wide near rule out the possibility that count the door of the stove.
Page 29
Mona Hatoum at the Miró Foundation. as you like. What interests me is the contrast between the beauty of the
July 2012
material, the refinement of manufacturing and the feeling of fear and danger arising from the object represented, "he said. The vast majority of the pieces embody this dichotomy between beauty and horror, and seduction and
Volume II — Number 46
danger. Just as the Hanging Gardens demonstrates that life can arise in the most inhospitable places, Suspended swings, have extended their sway ghostly but visitors are gone (it's worth staying to watch it), refers to the imbalance, instability and precariousness in which we live, but
At first glance the room looks emp-
"The Hanging Garden organic ba-
ty. The work, an ethereal web of
rricade installed in the courtyard of
glass beads, hanging from the cei-
the Miró, which will change as the
ling add an organic touch to the
seeds inside grow, does not hide its
A curtain leads to more domestic
geometric space.
connection to land art, "said Mile.
works: his self-portrait as endoscopy
It's Web, recent acquisition of the
The Commissioner made a correct
La Caixa Foundation, organizer
selection of work beyond chrono-
with the Miró Foundation, the ex-
logical or thematic approaches,
hibition Mona Hatoum. Projection,
their ability to dialogue with the
which is dedicated to Joan Miró
space and provide an overview of
In an extraordinary crescendo, the
Prize, awarded in April.
the artist as possible outside the to-
exhibition displays a monumental
"We did not start the tour with a
pic of Lebanese women, of Palesti- sand mandala mechanic, the nian family in exile in London since "creature power" Undercurrent and
play too iconic and linked to the geopolitical interpretation of an ar-
1975 and politically compromised.
this does not remove the desire to have fun.
and colonoscopy, projected on the plate of a beautifully set table, and oversized cookware linked to the dreamlike world of surrealism.
the work created especially for this exhibition, Turbulence, a slippery ta-
tist who has been typecast in too
"Art is open and does not know po-
many labels," explained Martina
litical agendas. Interpretation is in
Millà, curator of an exhibition that
the mind of the beholder," said Mo- "The language of art is slippery. I do na Hatoum was born in Beirut and not work with a predetermined stra-
"opens the semantic field of the ar-
pestry made of glass marbles.
tist and connects his language with one of the most interesting artists
tegy, I rely on my intuition and pla-
that of the vanguards of contem-
on the international scene in front
ce. Not everything is as it seems and
porary art. "
of an installation with pumps of va-
I do not want to provide answers but
rious types , made with colored
to raise questions," he said.
Is the case of wire cube, which refers to Sol LeWitt and optical art
Murano glass.
Hatoum gave up the € 70,000 prize
with suggestive visual effects, and
"People know I'm Palestinian and
to his old school, Byam Shaw School
splash in glass sculptural Murano
think are bombs against Israel, but
of Art in London, to help foreign stu-
(Italy), all a nod to David Hockney.
there is no sign with their origin or
dents.
destination. Each one can interpret
A political and poetic as his work.
Page 30

Lightweight glass. iPhone screen in 2006.
July 2012
Further developments Willow Glass is not the first attempt to produce a flexible display futuristic. In recent years, scientists around the world have been working with a material called graphene, first pro-
Volume II — Number 46
duced in 2004. This is a form of carbon superconducting films made from a single atom thick. In a BBC interview, the researcher at the University of Cambridge Andrea Ferrari said that prototypes of An ultra-thin, flexible glass that can
Glass is the result of the glass ma-
be wrapped objects was released
nufacturing process the company
in Boston by the American compa-
calls Fusion.
ny Corning.
The technique involves melting the
flexible touch screens made with graphene have been developed and also to be extra strong and flexible in the future may even give users a "sensational" experience fe-
Call Willow Glass, glass was displa-
ingredients to 500 degrees and
edback.
yed in the week of the Society for
produce a continuous sheet that
Information Display's DisplayWeek,
can be wound in a mechanism si-
"We went from physical buttons to
an industrial fair held in this U.S. city.
milar to that possessed by a tradi-
Corning, based in New York, is the
tional press.
company that developed the Gori-
The winding method is much sim-
lla Glass, a thin, transparent glass.
pler and faster in terms of mass
According to the company, the material could be used not only smart phones, but display screens that are not flat. But until those screens appear on the market, the glass may be used for the manufacture of mobile devices. "Every day the screens become more and more ubiquitous, manufacturers tend to make the hardware and its thinner screens," said Dipak Chowdhury, director of Willow Glass in Corning. The prototype was exhibited at the fair as thin as a sheet of paper. The company said that the material can reach a length of only 0.05 mm thick, much thinner than current screens 0.2 mm or 0.5 mm. New to Gorilla Glass? The material used to make Willow
production than the conventional process of creating glass slides superslim, the company said. In the future, Willow Glass could replace the widely used Gorilla Glass, which is currently in various smart phones and tablets. In the technology fair Consumer Electronics Show this year was held in Las Vegas, Corning Gorilla Glass unveiled the 2, which is 20% thinner
touch screens, the next step is to integrate some sensory capabilities," said Professor Ferrari. "Your phone will be able to feel if you are playing, will capture the surrounding environment will not have to press a button or switch it off, he will know if you are using it or not." In a different project, scientists at the Media Lab's Human Canadian University Queen's University and the Research Group of Environments Motivational State University of Arizona, created in 2011 a prototype flexible millimeters thick of a smart phone made from of a mate-
than the original product, but with
rial called electronic paper.
the same resistance.
Scientists said they have used the
The first generation of Gorilla Glass,
same e-ink technology (e-ink) than
which was launched in 2007, has
that used in the Amazon Kindle.
been used in more than 575 pro-
"This computer looks, feels and ope-
ducts from 33 manufacturers. It is estimated that over 500 million devices are made with it. The first to see their potential was the founder of Apple, Steve Jobs, who contacted Corning when the company was developing its first
rates like a small sheet of interactive paper," said Roel Vertegaal doctor. "You interact with it to bend like a cell phone, turning the page from the corner or writing on it with a pen."
Page 31
Glaziers returning to the shop. Lamelas, Faustino Moreno and Joaquin Garrido, every day since
July 2012
closed Dirsa are supported by repeat buyers. "Right now we just want to start working, if it can be better tomorrow than last. The crisis we are not afraid, we can only be a little
Volume II — Number 46
nervous because this has been very rushed and we are not in the dynamics of walking with paperwork and other "recognized. But do not be put off. They know that they expect many residents of the region Avilés and Dirsa company, mainly oriented to the sector of glass shattered.
that the glass business is profitable. So they have joined forces to form
architects and design or decoration that usually work with them to great works.
The firm, with deep roots in the
a limited company and will soon
region, presented a record of
open his own business in the same
They would endorse the
employment for the extinction of
location where already working in
experience. Rafael Moreno entered
entire workforce: seventy people
the street The House and rent.
Dirsa with just turned sixteen and
who had their jobs well Dirsa headquarters in Silvota stores well in Oviedo, Gijón, The Felguera and Aviles remained well on the street.
"Our activity will be the same as we had, people know us and are eager to start 'manifest and the new company responsible for the
forty-three years of work with this firm. Faustino Garrido has 23 years working in the glass sector, thirteen and twelve Lamelas Maria Jose Joaquin Moreno.
But every cloud has a silver lining,
glass in Oviedo, who now live
or so I believe four former
immersed in a sea of red tape,
The four now start from scratch with
employees of the delegation of
permits, lawyers ... The quartet
its limited partnership. Forecasts
Avilés' Dirsa "who have decided to
wants to do things right from day
quartet is opening the doors glass
go ahead with the business of
one.
business in the first days of July.
"What we want also to thank
The name of your company? At the
Rafael Moreno Well, Joaquin
customers the confidence and
moment it is still a mystery. Rafael
Marquez Moreno, Maria José
encouragement they have given
Moreno, Faustino Garrido, María
Garrido Lamelas Diana Faustino
us throughout this time," agreed
José Joaquín Moreno Lamelas and
Alvarez are four brave convinced
Rafael Moreno, María José
prefer, for now, recognize them as
glass.
the glassmakers of Avilés.
Page 32
How does.
Volume II — Number 46
July 2012
This month we include some pictures of the technique practiced by Richard Jolly.
Page 33

Genoveva Garcia in Segovia. depends on the situation in a personal level.
July 2012
The nature and the desire to represent situations of everyday life is the inspiration for this Segovia that manages to capture what you feel in each of his works. The artist was invited to various ex-
Volume II — Number 46
hibitions and events by the late Jose Maria Moro. The sculptor recognizes that the situation in Segovia is very hard, so she started with exhibitions in galleries that she sought or bars in the Genoveva Garcia Lopez yesterday history within the glass sculpture. presented his work in the "A" carried out by the cultural area of the County Council, with President of the Provincial Francisco Vazquez. The work included in this project is a sculpture consisting of four volumes of glass representing a symbolism about life, death and above all nature, interlaced with iron hardness and identified on a log that is related to the fire element used to melt the glass. The artist Segovia, has a long
He began his training by studying Arts and Crafts, but it was in 1990 when he discovered the glass and as the artist has "blown away".
province. In his long journey, has exhibited his work in Barcelona, Germany, Seville, Santiago de Compostela, France and several times in Madrid, in places like the Museum of Glass in a
His work does not follow a single li-
group exhibition AlcorcĂłn in 1998.
ne, has a mix of different variables
Genoveva Garcia recognizes not
that manage to reflect your personality and has managed to see how different materials, "can express many things."
expect anything from the project, just want to participate in a movement "excellent" by the County Council to the development of art
Bases his work on stage and not
in Segovia.
only dedicated to the glass and
The work will be on display until July
iron, because the way they work
2 in the hall of the Provincial Palace of Segovia.
Page 34

Glass Art Society 2012. helped spread the study of art glass along the U.S., including Marvin Li-
July 2012
pofsky, who started a glass program at the University of California at Berkley, and Dale Chihuly, who developed the glass program at Rhode Island School of Design and later founder of Pilchuck Glass School in
Volume II — Number 46
Stanwood, Washington. Until the 1940s, the typical perception of the glass came from its use as an industrial material applied to functional and decorative objects especially designed for glass designers and quantity trained by skilled Posted in Glass Objects.
From 13 to 17 June 2012 brought together more than 1,200 artists
that the glass is a suitable medium for the expression of artistic ideas in
In the second half of the twentieth
a studio setting.
century, a time filled with the spirit
and connoisseurs of glass to partici- Harvey Littleton was a man with an pate in seminars, demonstrations of insatiable curiosity about the glass, various techniques, exhibitions and
this is undoubtedly due to his fat-
conferences.
her, a scientist who developed Py-
During the 2012 marks the 50th anniversary of "American Studio Glass
rex in 1915 and, often led him to work with Corning Glass Works.
Movement," which had its begin-
He organized the first hot glass pro-
nings in the Toledo Museum of Art
gram at an American university
(U.S.) in the hands of Harvey Little-
(University of Wisconsin-Madison).
ton, who in 1962 opened two experimental glass workshops to show
glass artisans.
Several students from Littleton
of experimentation, the glass was uncharted territory that allowed multiple manifestations of bright, saturated colors with great lightness and plasticity. This set in motion a movement that was driven by an unprecedented collective enthusiasm and has already become an international phenomenon that continues to inspire experimentation.
Page 35
Angela Teunissen in La Granja. we saw in our previous visit to the exhibition, we note that some of
July 2012
those that were now exposed we had not seen, and we said Angela had sold some and had to replace others in their place. It also gave us the pleasant news that the gallery Gaudí, Madrid, was interested in his work and had for-
Volume II — Number 46
malized its representation to present their achievements in major art fairs in the world. We also reported that the next day 16 will open an exhibition of his works in the Museum School in the town Alcarria of Luzon. We are very happy because this is the second representative of the glass art to exhibit at this place, since previously it had our good friend Pedro Garcia in July 2011, and whose information we include in our Newsletter of that month . We can not attend the inauguration because we'll be enjoying our land Moroccan deserved rest, but we promise to Angela that once we return from our holiday, we move to Luzon to see the exhibition On June 28 officially opened the
Foundation, Aurea Juárez, and the
exhibition of works by Angela Teu-
Museum Director, Paloma Pastor,
nissen at the Tech Museum of Glass Angela Teunissen explained his phiin La Granja (Segovia). In our Newsletter we reported last
works in glass.
of Angela we visited the pieces that
the excellent impression that we
all his works his desire to share their
had caused the works of Angela.
experiences.
This time we came together at the
Therefore, most of his works are
Museum Angela many friends and
composed of two parts.
days in these units. After a few words of the Director of the National Glass Centre
Lopez. After the inauguration of the works
Fundamentally, Angela pursued in
course she has taught for eight
of the City Council, Javier Herguido
losophy on the conduct of his
May our visit to this exhibition and
students who have attended the
and greet the Councillor for Culture
have made the five students who participated in the course Teunissen has taught for eight days at the Foundation. Each of them received the diploma and we were describing each of
She says that is to sell and the other the works they have done. to give and share their work with the buyer. In connection with the works that
Finally we were shown the joint work they have done under the supervision of Angela.
View photos
Page 36

The sun and the glass melt in Dusseldorf. DĂźsseldorf Exhibition Centre, with over 40,000 visitors.
Volume II — Number 46
July 2012
Glasstec is definitely a venue for international managers are those who make investment decisions. The show became a showcase for the entire value chain of the glass industry, production and processing, with an extensive program aimed at a broad prospect ranging from architects, civil engineers, planners and business fronts in the solar sector. Given the scale of the fair, the year 2012 edition of this new feature called "compass trends" that will guide the search for new products and innovations to visitors of the fair. On June 20 the organizers of the International Exhibition of Glass, Glasstec, and the International Fair of Technologies for Solar Energy Production, solarpeq, a luncheon held in Madrid to present to the press both events taking place alongside the 23 to 26 October 2012 at Messe Dusseldorf, Germany. During the presentation Hans Werner Reinhard, vice president of Messe Dusseldorf and Joachim Schmid, director of the German Federation of Industries of machinery, provided the main details of these two major professional events. What makes the combination of fairs and solarpeq Glasstec so special is the encounter between the glass and solar energy, which is produced in a unique way to Dusseldorf. The aim of this dialogue between the two sectors is showing new sales opportunities for the glass
industry and provide the solar industry new media and drives in the race to reduce costs and increase efficiency. This objective is also the focus of the specialized conference "Solar meets glass" on the production of solar technology that complements the expectations of exhibitors and solarpeq glasstec. Organized in collaboration with Solarpraxis be held on 22 at the fairgrounds and 23 October in the Congress Center East. The conference includes among its components with both suppliers and customers to take into account equally all topics of interest from both perspectives. Glasstec is a trade fair that brings together exhibitors from 52 countries and attracts visitors from 86 countries, in its last edition in 2010, 1,274 exhibitors presented their innovations and products in the
According to Professor Don Udo Ungeheuer, president of the Federation of the Glass Industry and Glasstec 2012, summarizes this as follows: "Glass is an important material and future prospects, which saves energy and resources. Therefore, the energy change of course should not become a competitive disadvantage for the German glass industry, for a secure future for the glass manufacturing industry in Germany in the future will also contribute decisively to achieve national and global climate protection. " This year again, the industry demonstrated in the Glasstec has prospects and is versatile. "We Glasstec is, of course, a date of great importance for the sector. There we will have opportunity to show what is sustainable and innovative glass as raw material, "says Ungeheuer.
Page 37

Benefits for a company Cantabrian. to 2,143,362 euros Reviciclo.
July 2012
This limited company with eight employees are located in the industrial area of Tanos-ViĂŠrnoles and is dedicated to handling and processing of flat glass.
Volume II — Number 46
Specifically, treatment, recovery and glass recovery, collection, storage and sale of waste, dirt and waste, transportation of goods themselves and others; and storage, distribution, handling and maA Cantabrian company benefits
A company of Torrelavega, Revici-
nufacture of glass objects and ma-
from more than 171,000 euros of
clo SL, will benefit from 171,468 eu-
terials and packaging.
regional incentives
ros of regional incentives, by Order
The Law on regional incentives to
published today by the Ministry of
correct economic imbalances bet-
Finance and Public Administration.
ween areas is a tool for statewide
ros of regional incentives, by Order
This is the only company Canta-
activities aimed at promoting entre-
published today by the Ministry of
brian to have been granted regio-
preneurship with selective intensity
Finance and Public Administration.
nal incentives for investment pro-
in certain regions of the state in or-
jects, which in the case of amounts
der to deliver balanced economic
A company of Torrelavega, Reviciclo SL, will benefit from 171,468 eu-
activities within it.
Page 38
Carlo Scarpa exposition. Venini 1932–1947. The works on display are prototy-
July 2012
pes, unique, original drawings and sketches and historical photographs and archival documents from private collections and museums around the world gathered for the first time.
Volume II — Number 46
The intention is to present a comparison between the activity of Carlo Scarpa as a designer and a career in architecture, in addition to research and reflect on the meaning it had in his work the period spent in Murano.
1932-1947, opens a new exhibition
The exhibition "Carlo Scarpa. Venini Title: Carlo Scarpa. Venini 1932-1947 1932-1947", curated by Marino Ba- Dates: August 29-November 29,
space dedicated to the project
rovier, narrates, through the more
"Glass breaks."
than 300 exhibits, a specific period
The exhibition Carlo Scarpa. Venini
During the same days, which marks the Venice Architecture Biennale 2012, numerous events will take place and there will be many reasons to visit the city of canals. The award of the Next Landmark contest, sponsored by Floornature will be an opportunity to discover new talents among young designers from around the world. There will also be initiatives to rediscover some undisputed masters of architecture, as Carlo Scarpa, star of a new project "Glass Theme", promoted by the Fondazione Giorgio Cini.
of intense activity of the architect: the artistic direction of the Venini glassworks (1932-1947 .)
2012 Location: Fondazione Giorgio Cini, Venice, Island of San Giorgio Maggiore - Italy.
Page 39
Nuestro Boletín tiene su redacción en: Castillo de San José de
July 2012
Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID
Volume II — Number 46
Al vidrio por la cultura
Presidente honorario
Vocales
Javier Gómez Gómez
Rosa García Montemayor
Presidente
Evangelina del Poyo
Miguel Angel Carretero Gómez
Diego Martín García
Vicepresidente
Francisco Martín García
Pablo Bravo García
José María Gallardo Breña
Secretaria
Mª Luisa Martínez García.
Teresa Fernández Romojaro
The purpose of this Association is to promote, encourage and support many cultural activities in the broadest terms, are related to the mission and activities of the Glass Art Museum of Alcorcon. Our goal is to develop and collaborate with other public or private entities to promote, protect and promote the art and culture.
www.amigosmava.org
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with existing management.
Tesorera Mª Angeles Cañas Santos
Page 40
Line of research. Images.
Volume II — Number 46
July 2012
Fig. 1
Fig. 2
Fig. 3
Page 41
Techniques. Images.
July 2012
Volume II — Number 46
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Page 42
Glass Workshop. Images.
Volume II — Number 46
July 2012
Plate 25
Plate 26
Fig. 2
Fig. 19 Plate 27
Page 43
Volume II — Number 46
July 2012
Angela Teunissen in La Granja. Images.