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. In another. M. A. Carretero.

Good Friends, we're run-

ning another period of ti-

mely appearance of our

Newsletters.

We get a new rest and re-

newal of strength to under-

take a new one with new

news, new exhibits, new

views and new artists who

bring to our pages.

Despite the tremendous

economic desert we are

experiencing, our evolution

is still positive.

Even with a slow pace,

whenever we have more

members and continue to

increase our fans on Face-

book and on our website.

Our newsletter continues to

increase the number of re-

cipients and we are aware,

through our visits and our

attendance at exhibition

openings, of which there

are many world artistesa-

nos glazier who are interes-

ted in what is published in

its pages.

Our main interest is to spre-

ad our culture Museum

and glass in general. If we

do our bit to achieve this

we will be very proud of.

We are well aware that ti-

mes are going through

very hard for the glass sector

in general, but we also know

that those who work brin-

ging innovation and quality

products, which provide at-

tractive designs and refined

techniques applied to his

creations cross the desert

with more water reserves

than those mold and con-

form to keep repeating the

styles in their productions.

Some day will come when

the clouds dissipate our eco-

nomy. We are sure, but do

not know when will this be-

autiful dream.

It seems a truism, but it's the-

re.

Therefore, they can reach

the longed horizon, not fall

by the wayside for lack of

resources to support this

hard journey, those who do

not live in agony for his me-

diocrity, will euphoric tunnel

to a new stage ready for bo-

ard the bus of progress and

prosperity.

We must also give value

among all the artistic glass

sector the respect due to

their work. No samples may

consent disinterest, if not

contempt, that show every

day actions of politicians in

power who are in key posi-

tions of the bodies at local,

regional level and national

level can govern their ma-

king the future of our artiste-

sanos.

Very recent examples as the

Craft Fair that was held re-

cently at the Plaza del Car-

men, Madrid, with a very

scarce passage of people,

the infrastructure in the Plaza

de San Martin about to

open the Craft Fair in

street adjacent Postigo de

San Martin and the logic

that led protest of those af-

fected.

The absence of advertising

on the conclusion of these

samples of crafts.

And all with a predatory pri-

cing by the occupation of

the stands and they have to

pay them because their live-

lihood depends on it!

The intoxication that are sup-

porting our artistesanos with

consensual seudoferias that

abound in our cities that are

offering products with a

quality resale more than

questionable.

All this allowed, condoned

and sponsored by our local

authorities see this as an ea-

sy profit for their battered

economies, but they are

causing irreparable damage

to our artistesanos, because

the public gets into the sa-

me basket of healthy apples

and rotten and, through ig-

norance of the majority, al-

ways measure the recom-

mended option for the

amount you must pay.

I will say, artistesanos friends,

I'm a heavy, I'm always with

the same song, but I keep

insisting that marriage is the

most powerful and most ef-

fective way to fight with all

such nonsense and lack of

interest part of our authori-

ties in protecting our culture

and your refined techniques,

favoring the invasion of filth

and garbage.

Through September, great

summer!

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

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

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

info@amigosmava.orginfo@amigosmava.org

Monthly Newsletter

Newsletters

Richard Jolley

Page 2

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Normality in the CNV 5

Javier Velasco in Valencia 6

Research line 7

Activities in Museums 8

Conference: Natural glass 11

Activities on the MAVA 12

More about "The Trinity" 13

The Glass in the Prado 14

Technical Glass 15

News 16

Culture 2012 16

Restoration in Malaga 17

Roman glass in Japan 17

The glass museum 18

Staiend glass in Guadalupe 19

Glass recycling 20

Cultural tours 21

Culture 2012 Programme 21

Convention at Navarra 22

Children Guarataro 23

Glass art film 24

Other trends 25

Corning expansion 27

Glass workshop in Murcia 28

Mona Hatoun 29

Lightweight glass 30

Glaziers returning 31

How does 32

Genoveva Garcia 33

Glass Art 2012 34

Angela Teunissen 35

Glasstec in Dusseldorf 36

Benefits in Cantabria 37

Carlo Scarpa 38

Directorate 39

Intellectual Proper-

ty Law

TITLE VI. Cinemato-

graphic and other

audiovisual works.

Any modification of

the final version of

the audiovisual work

by addition, deletion

or alteration of any

element thereof shall

require the prior ap-

proval of those who

have agreed to such

final version.

However, contracts

for production of au-

diovisual works es-

sentially through the

public communica-

tion of broadcasting,

shall be deemed

granted by the aut-

hor, unless stipulated

otherwise, the aut-

horization to

broadcast in the form

of the work the chan-

ges strictly required

by the programming

mode of the medium.

Moral law and des-

truction of original

carrier.

The moral rights of

authors may only be

exercised on the final

version of the audiovi-

sual work.

The destruction of the

original support of the

audiovisual work in its

final version.

Radio works.

The provisions of this

Title shall apply, as

appropriate, to bro-

adcast works.

TITLE VII.

COMPUTER PRO-

GRAMS.

For the purposes of this

Act shall mean com-

puter program any se-

quence of instructions

or data intended to be

used, directly or indi-

rectly in a computer

system to perform a

function or task or to

obtain a particular re-

sult, whatever their

form of expression and

fixation.

For the same purposes,

the term computer

programs also include

their preparatory de-

sign.

The technical docu-

mentation and user

manuals for a program

shall enjoy the same

protection as is affor-

ded to this Title pro-

grams.

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

World of Glass. Moscow 2012.

The International Fair World of Glass,

Moscow 2012 held on 13 and June 16

last has been organized by the Mos-

cow Expo Center and has received

more than 19,000 square feet of space

to display products related to the glass

industry.

This year about 9,000 expected trade

visitors and lovers of glass products

worldwide.

The International Fair World of Glass,

Moscow 2012 meets the interests and

creates a perfect platform for professio-

nal dialogue between manufacturers,

designers, architects, distributors and

others.

The World of Glass, Moscow 2012 repre-

sents a high degree of business world-

wide.

The fair offers a unique opportunity to:

• Introduce new products or brands to

specialists;

SPECIAL INTEREST:

Part of the month

Normality in the CNV

Javier Velasco in Valencia

Natural glass

Activities on the MAVA

News

Our activities

Glass recycling

How does

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

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• Understand the needs of customers

through the interest shown in the wide

variety of products;

• Increase brand awareness and rein-

force the image of company / factory

in front of customers;

• Explore the potential of the glass mar-

ket, identify new trends in product de-

velopment;

• Improve the distribution system;

• Expand customer base through new

contacts established during the cele-

bration of the fair;

• Conduct market research to discover

the needs and expectations of poten-

tial customers.

There have been more than 180 partici-

pants and 250 exhibitors from many

countries such as Austria, Belarus, Bel-

gium, Bulgaria, Great Britain, Hungary,

Germany, Israel, India, Italy, Kazakhs-

tan, China, Poland, Russia, USA, Turkey,

Ukraine , France, Croatia, Czech Repu-

blic and Finland. What about Spain?

This year will be a great year for those

working in the glass industry as it has a

higher interest reflected in the number

of exhibitors and visitors attended the

fair.

In addition the organizers are schedu-

led to hold a contest on the following

topics: "Properties excellent products"

and "Success in product quality."

The winners will take many awards and

proposals of the Russian trade sector.

Page 3

Part of de month. Václav Cigler.

time his work at the Milan Trien-

nale and later in Brussels Expo

'58, Expo '67 in Montreal and

Osaka '7.

Throughout his creative life

Václav Cigler has made three

types of works, sculptural ob-

jects in glass optical design mo-

numental lamps and jewelry,

and architecture projects and

compositions.

In museums, the most common

type of work - design and super-

vision on their own, not by his

hand-made objects are optical

glass with geometric shapes mo-

re or less complex, as this work of

MAVA.

Cigler pioneered the 60 of this

form of sculpture called prism

which would be added later and

Marian Karel Zoritchack Yan.

In 1967 he first exhibited these

works in Spala Art Gallery in Pra-

gue, becoming part of the works

brought to the Czech Pavilion at

Expo '67 in Montreal, earning a

distinction (CZECH GLASS 2005:

56).

But perhaps the best work of

Václav Cigler his architectural

projects are executed by order,

as performed at the Embassy of

Czechoslovakia in Stockholm

(1966), the luminous objects in

the National Theatre in Bratislava

(1967-74), water sculptures the

World Expo in New Orleans

(1984), "Pendulum" (1997) in the

Digital building in Prague, etc..

Between 1965 and 1979 he di-

rected the Department of Glass

and Glass teaching the course in

Architecture at the Academy of

Art in Bratislava, Slovakia, while

Libensky 'did at the Academy of

Applied Arts in Prague.

They then both have made their

mark on the work of many gene-

rations of Czech and Slovak ar-

tists.

Václav Cigler is part of the same

generation as Stanislav Libensky

', Rene Roubicek, Vladimir Ko-

pecky' and Jaroslava Bryctová,

the first after World War 1.

As Libensky ', studied first at No-

vy' Bor and then at the Acade-

my of Applied Arts in Prague

with Professor Kaplicky '.

In 1957 he exhibited for the first

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Page 4

Established artists. Richard Jolley.

Young artists. Michi Suzuki.

Michi Suzuki was born in Yamagata

(Japan).

He spent his childhood in this villa-

ge in northern Japan.

Very young, he learned calligraphy

and received the rank of 7th Dan.

1989 to 1995 Michi is stained glass

courses in private workshops in Ja-

pan.

1996 took courses at the Institute of

Glass Art in Tokyo to complete his

knowledge of the art glass torch

section.

Lemonglass. She creates her own

workshop in Japan in Yamagata

and teaches the techniques of ma-

king stained glass. Lemonglass still

active today.

1997 First trip to France. The follo-

wing year, Michi Suzuki lives in Paris

where he studied painting at the

Ecole Nationale Superieure des Be-

aux-Arts in Paris.

2000-2004/2005 Works with glass ar-

tists such as Jean-Pierre Baquère or

Fabienne Picaud.

2006, studied at Cerfav (European

Centre for Research and Training in

Glass Arts) Vannes-le-Châtel, with

the help of a grant from the Ministry

of Culture of Japan.

2007. He specialized in Ikaalinen

School of Crafts and Design in Fin-

land.

2007-2008 exhibited his work and

conducts many workshops in Euro-

pe: Hamburg (Glasdesign), the

School of Crafts and Design Ikkali-

nen Finland, the University of Sars

glass ceramics, in northern France,

at the National Center Foundation

glass in Segovia and the internatio-

nally renowned artist Diana East,

England.

Richard Jolley was born in Wichita,

Kansas in 1952 and then moved in his

youth at Oak Ridge, Tennessee.

In 1970 the artist began his studies at

Tusculum College in Greenville, Tennes-

see. His studies of the glass made un-

der the supervision of Michael Taylor.

In the fall of that year, Jolley perfected

his technique in Penland School of Arts

North Carolina under the instruction of

Richard Ritter.

Jolley continues the teaching tradition

in Penland glass often through pro-

grams designed to engage students at

risk of the Knoxville community with

professional artists.

Maintains a glass studio in Knoxville sin-

ce 1975. Richard Jolley has participa-

ted in solo museum over 65 exhibitions

and galleries throughout the

country and in Europe and Japan.

From early in his career, Jolley had be-

en included in some of the most impor-

tant exhibitions in the world. Museum

of Modern Art, Hokkaido, Sapporo, Ja-

pan in the Glass Exhibition in Kanaza-

wa, Japan, and the Grounds for Sculp-

ture in New Jersey and Laumier Sculp-

ture Park in Missouri.

During the next decade, the artist con-

tinues to include their works in major

museum exhibitions of contemporary

glass and sculpture, as the Indianapolis

Museum of Art, Museum of Fine Arts,

Boston, Renwick Gallery of the Smithso-

nian American Art Museum and the

Carnegie Museum of Art and more re-

cently in the Wornick Colection exhibi-

ted in the Museum of Fine Arts, Boston.

After numerous exhibitions Mark R. Le-

ach's Mint Museum of Art in Charlotte,

North Carolina, organized the first ex-

hibition of glass sculpture by Jolley in

1997.

Then, in 2002 Richard Guber, then head

of the Ogden Museum of Southern Art

and Stephen Wicks, Curator of the

Knoxville Museum of Art, organized the

first major retrospective of the artist, ex-

hibition traveled to 14 museums in the

U.S. for five years.

Since 1973, the artists' work is widely co-

llected both privately and by public ins-

titutions. It is found in over 33 public co-

llections, notable establishments inclu-

ding Carnegie Art Museum, Corning

Museum of Glass, Knoxville Museum of

Art, Los Angeles County Museum of Mo-

dern Art, Museum of Fine Arts, Boston,

Renwick Gallery of the Smithsonian

American Art Museum, Washington,

DC, and Frederick Weisman Art Foun-

dation in Los Angeles.

In 1998, the Tennessee Arts Commission

selected the artist to participate in an

exchange of Tennessee Artist / Israeli

Culture, and in 2009 began to exhibit his

work in the Litvak Gallery, Tel Aviv, Isra-

el. Then in 2011 the artist was invited to

make a new series of art in the study of

Berengo, Murano, Italy.

Current commissions include sculpture

"Everything and the Cosmos" (2007) ins-

talled at Seven World Trade Center,

New York City and glass next largest

installation at the Knoxville Museum of

Art to be completed in 2013.

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Our Web

Our web

Page 5

Normality in the CNV of La Granja.

The activity of the National

Glass Centre (NSC) on Friday

returned to "normal" as the di-

rector of the National Glass

Centre Foundation, Aurea

Juárez.

As announced from the Cen-

tre's management, the entire

workforce, consisting of 55

workers has been incorpora-

ted to work after the second

record of employment regula-

tion (ERE) which were from the

last January.

Aurea Juárez assessed the si-

tuation as "completely nor-

mal" for both workers and for

the School of Glass and

Employment Workshop.

In this sense, explained that

an advance of the grant ap-

proved by the Board of

200,000 euros from Banco

Santander has made possible

the resumption of activity.

For his part, President of the

Works Council, José Luis Du-

que, said that complete nor-

malcy was returning on Tues-

day, as "for technical reasons

the furnace blower needs a

few days to start back to work

one hundred percent."

Jose Luis Duque, as stated

earlier, noted that the center

will face a challenge in the

coming months, in order to

maintain the viability of the

center.

For his part, Mayor of the Royal

Site of San Ildefonso, Jose Luis

Vazquez, has said "I'm really

happy, but wisely."

Vazquez said the effort by em-

ployers, by management and

by workers in the National

Glass Centre.

"This effort ensures that 2012

will be able to afford", but

"moderation because it de-

pends on the viability of these

seven months of 2013," added

the mayor.

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Page 6

Javier Velasco in Valencia.

The regional secretary for Culture

and Sport, Rafael Ripoll, presented

at the Sala La Gallera, the work of

artist from Valencia, Javier Velas-

co.

Ripoll explained that this exhibition,

entitled 'The seventh circle', is inspi-

red by the Hell of Dante's Divine

Comedy transforming this historic

monument of the nineteenth cen-

tury, in a storm of red glass that re-

calls the fire or blood and power is

about life and death. "

Ripoll was accompanied by the ar-

tist and the managing director of

the Consortium of Museums of Va-

lencia, Felipe Garin.

Velasco has become in recent ye-

ars in a reference artist, well known

in the art community of Valencia

and prestigious in the rest of Spain.

So write in their catalog art critics,

Fernando Castro and embodies

Gimenez, besides the Lit House di-

rector of Madrid, Jose Guirao, re-

cognizing great admirers of the

work of Velasco.

According to the Regional Secreta-

ry for Culture and Sport "Javier Ve-

lasco has established a unique sty-

le in the area of the facility with the

use of unusual materials in the arts

such as Murano glass, paint or

chrome mercury."

So has recognized the work of Ve-

lasco "is born and develops in the

same space Gallera vindicating

the traditional nature of the artist in

his work."

At the same time expressed his sa-

tisfaction for having kept the space

of the cockpit as exhibition

hall since "there is no space in Va-

lencia where the symbolism, archi-

tecture and contemporary art are

fused in a very evocative and inspi-

ring for artists" Ripoll said.

Referring to the seventh circle of

Hell in the Divine Comedy, a work

on which many artists and intellec-

tuals have pondered throughout

history, Velasco creates a scene

that moved to the present tries to

show the moment of uncertainty in

which man lives to face the unk-

nown or the feeling of frustration to

reach impossible challenges.

Javier Velasco has recognized that

"the exhibition space of the cock-

pit is certainly one of the most unu-

sual for any artist to make interven-

tions specificati site and knows

adapt their expression to both the

architecture and its history and ori-

gin."

"In my case, I tend to facilities that

fit the structure of the building and

at no time do not try to alter what

already exists. Rather, my job is to

promote and play with the con-

cepts that the building comes from

its past and present. My glass insta-

llations, often ethereal and little

heavy, so it is through the lights

when they come to life and this

"said the artist.

This time the installation, which is

suspended from the ceiling levels,

consists of 94 branches of red glass,

which extend very long filaments

from the sky to the ground, wan-

ting to touch or almost caress the

viewer.

The installation remembers the blo-

od and the power of this about life

and death.

Its development developed in the

same space of the cockpit, has ta-

ken more than a month of work.

Velasco acknowledges that "this is

usually a recurring motif in my way

to work with the facility, and I think it

is an act that enriches the work to

be shared as creative experience."

The exhibition is completed on the

second floor with exposure of the

preparatory work, six paintings and

a video, made by a group of colla-

borators who have helped in sha-

ping Velasco this stage, from idea

to final work.

These are: Mar Dominguez, Andrea

Gussi, Regina Quesada, Juan Car-

los Rosa Casasola, Lord Cifrián

(Esther Lord and Carmen Cifrián),

Nikita and Daniel Vilar Solovykh Gri-

jalva.

In the exhibition catalog Velasco

explains that "considerations of ma-

terials and structures potential to

bring to fruition a project, have now

broken for these premises, making

'the team', even occupying a signi-

ficant and discrete background on

many occasions, has an importan-

ce in what is ultimately the artistic

experience. "

The exhibition will be in the cockpit

until the end of October, when tra-

vel to Miami, with the cooperation

of the Cultural Center of Spain in

Miami.

Biographical

Javier Velasco (Cádiz, 1963) began

his career exhibition in 1993 in Sevi-

lle.

Over the years his prolific output

has led him to make more than a

hundred samples of many Spanish

cities, and shows his work in various

projects around the world and the

U.S., Mexico, Japan or Germany.

In addition there are numerous pu-

blic and private institutions within

and outside Spain those with his

work.

In Valencia and in the exhibition

program of the Consortium of Mu-

seums has been part of several

group exhibitions, most recently in

the collection "Art and health" of

DKV has been seen this year at the

Centro del Carmen. Also present at

Valencia '100% 'in 2010 and' Pere-

grinatio 'in its 2007 edition.

MAVA is exposed in his book "Body

of Glass".

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Page 7

Line of research: Inclusions (V).

Estefanía Sanz Lobo.

Failure to do so, we would risk

creating large bubbles around

the chips.

There is another procedure to

prevent air pockets, is to make a

pre-cooking of chips on the

glass base, we must raise the

temperature until the complete

fusion (the merger raised or ter-

mocollage not prevent air en-

trainment, as that the shape of

the chips is maintained).

However, for the creation of in-

ternal volume this procedure is

not very suitable, because the

forms created with the fries less

clear.

On the other hand, is more ex-

pensive in time and power.

The test of Fig 1 is made by the

process of a single firing, surroun-

ding the chips (in this case the

house Bohle, yellow and red-

grained 1, the darkest gradation

are Violet 3, moreover, in the

center colored area is transpa-

rent ground glass).

The effect produced is of a glass

enclosed area under a transpa-

rent layer; can see its thickness.

In Figure 2, clear glass surroun-

ded himself with a form created

with fried green and blue mixed

with green mica.

The effect is very different if the

surface (top) or under glass

(below).

Note the sharpness of the crea-

ted form.

Fig 4 is formed by a sandwich of

three glass having a thickness of

3 mm each. The glass in the in-

termediate layer have been cut

to create the form of a thick li-

ne, which is then filled with crus-

hed glass frits and transparent.

To increase the sense of depth,

has been in the red enamel

glass surface (enamel for third

fire - overglass-ceramic).

Factors favoring the perception

of depth when using frits and

glazes.

Experimentation has led to the

conclusion that they are mainly

three ways of working that in-

crease the sense of depth and

internal volume of the works.

• Several layers.

The more layers of glass have

the work, the greater the chan-

ce of introducing forms at diffe-

rent levels, I mentioned that

each form serves as a spatial re-

ference for others.

Moreover, one should not forget

that the workpiece surface by i

tself constitutes a layer, and can

be worked in many different

ways.

• Sharpness of forms.

When cutting and delimiting with

transparent glass areas in which

chips will color or glass powder is

easier to perceive the thickness

thereof and also favors the per-

ception of various forms in diffe-

rent superposed layers of glass.

When working with thick chips,

as mentioned above, it is neces-

sary to surround with clear glass

of the same thickness, facilitating

the delineation of forms, but this

clearly is not as easy to achieve

when we work with stained glass

grinding or between two glass

enamels, especially if we sprinkle

to prevent the formation of

marks (brushstrokes, waste re-

sources, etc..).

In this case may be useful tem-

plates using cardboard to pro-

tect certain areas of transparent

glass to act as reserves.

If it is desired to create a sense of

depth unbounded forms, most

bubbles occur when fired ena-

mels between glass also serve as

spatial reference elements when

they are in different layers of

glass.

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Page 8

Activities in Museums I.

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Page 9

Activities in Museums II.

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Page 10

Activities in Museums III.

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Page 11

Conference on natural glass.

On May 22 we attended the Ge-

mological Institute Españos the

conference "Glass, the poor rela-

tions of gemology" given by profes-

sor D. Luis M. Zapatero Ramos.

Doctor of Pharmacy, University Lec-

turer, Diploma in Gemology from

the Autonomous University of Ma-

drid.

According to views obtained of ve-

ry introduced in gemology, Profes-

sor Shoemaker is number one in our

country in his specialty.

He began his lecture by a defini-

tion of the glass and its differences

with the glass, its composition and

that many variations exist glass.

The glasses can be classified into

natural and artificial.

The natives may be volcanic im-

pactitas, tektites, fulgurites, lunar

and meteoric.

Within the main exponent we vol-

canic obsidian.

Obsidian is caused by rapid coo-

ling of magma acid. Boomed in

the years 1200 to. C. and its main

fields are in Mexico, Guatemala

and Ecuador.

Obsidian was widely used by pre-

Columbian civilizations. Especially

for domestic purposes, warriors, or-

namental, ritual, surgical and me-

dical.

This natural glass comes in several

colors: Brown-gray, black with whi-

te spots, red uniform, red and

black, iridescent, brown, gray and

transparent.

Its hardness is 5 Ohms scale.

Other natural glasses are:

Perlite: granular structure. It is pri-

marily used in the construction sec-

tor.

Pele's hair: thin threads of volcanic

glass to 2 m. long.

Pele Tears: spheres or drops.

Pele Ooze: thin sheets.

Other natural glasses are caused

by meteorite impacts.

Some impact craters originated

have been measured 480 km in

diameter.

These glasses can be classified into

the following groups:

Impactitas: caused by melting of

rocks where the meteorite fell.

Tektites: are caused by the spray

produced by the impact. Some

spatters can leave the atmosphere

and fall back on Earth.

There were several theories about

the origin of tektites: impacts on the

moon, lunar volcanism, volcanic

glass, artificial human source, etc..

But it has been concluded that

splashing is meteorites impacts.

The distance that tektites are found

regarding the impact is due to the

rate of fall of the meteorite.

The shapes of tektites are very di-

verse. The main ones are: banded,

solidified spatter, ablated, microtek-

tites.

They have a high component of

SiO2 and its color is variable.

The ivoritas are a type of tektites

have been found in Ivory Coast.

The tektites have been found, main-

ly in Australasia, Cambodia, Ameri-

ca, Czech Republic, Slovakia, Mol-

dova and Germany.

The Urengoitas are other types of

tektites have been found in nort-

hern Siberia.

The granular fulgurites are tubes

that are produced by lightning in

siliceous sandy soils.

In short, it was a very educational

conference that the teacher knew

Zapatero convey in simple langua-

ge and we took a very definite ide-

as, especially the world of natural

glass.

We are very grateful to Professor

Shoemaker and his teachings, as

we met him at the end of his talk,

come to the MAVA to carry out a

full tour of the exhibition.

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Page 12

Activities on the MAVA. Space 0.

From June 22, 2012 to October 22,

2012.

The MAVA an open call for submis-

sion of projects where they are pro-

posing a facility, consisting in whole

or in part by glass, to be placed in

the skylight of the building of MA-

VA.

The details of space, description

and measurements are as follows:

Description of Space 0

The visitor enters the building

through the lobby, a space is top-

ped by a skylight that provides

light, organized access to the va-

rious rooms and shows a triple

height space.

It tear the stairs leading to the up-

per floors and basement, is a

straight shot blasted with wooden

handrail, that links all heights.

Behind it opens a large window

that covers the lobby and first floor.

Upper floors and basement of the

Museum

A railing circular, in the first and se-

cond floor, allow to observe the

installation from different heights,

offering a unique vision and appro-

ach to providing opportunities in

the exhibition.

The first floor is the largest and cle-

ar, only interrupted by pillars, ligh-

ted by windows overlooking the

street.

The second floor, under cover, re-

ceives light from the skylight that

crowns the lobby and allows over-

head view of it. It has a central ex-

hibition of emerging on either side

aisles distributing various offices.

Space 0

Located in the skylight, but travels

through the building, the work has

to be at the height of the plant 0

(hall), it may invade the former.

Mounting

The assembly can be done in the

basement and upload it to the de-

sired height by a set of pulleys,

which are installed on the second

floor.

The rail allows anchors, with a maxi-

mum load of 150 kg.

Light

We have three sources of natural

light: a zenith skylight on the second

floor, another front of the main en-

trance and a third located behind

the stairs, consisting of a large win-

dow.

Make a selection of the most inte-

resting and establish a schedule of

exhibitions.

Each installation will be exhibited

three months.

Send submissions by mail ma-

va@ayto-alcorcon.es and if in

doubt, call 911127635.

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Page 13

More about "The Trinity".

The public platform "Save the Glass

Factory Trinity", interested in the

conservation of this industrial site

located in Miraflores Avenue, Sevi-

lle, has criticized the demolition

"behind everyone's back" of various

plants belonging to the set, which

be carried out without specialized

monitoring and technical advice

on heritage.

Platform spokesman and chairman

of the Workers' Retirement Historical

Association (AHRO), Basilio Moreno,

explained that, in addition, the

company responsible for the de-

molition "dismantled and taken at

will" part of that heritage for more

than one century there was kept,

specifying in factory machinery

and disassembly of the scale of en-

try,

"Dating from the early twentieth

century, with a piece of industrial

archeology of significant value."

Moreno lamented that, after the

agreements and commitments ex-

pressed by the protection of the

government regarding the protec-

tion of heritage values and draft a

master plan approach to realize

the civic center, the School Works-

hop and Museum Glass Factory of

the Trinity, is carrying out an opera-

tion authorized by the Planning De-

partment "which has not been re-

ported or the public platform or

the Department of Culture of Sevi-

lle."

"We also believe that the law is

abused, as these demolitions should

be inserted in a new land subdivi-

sion of land, in a timely reform of

the General Plan of Urban Planning

(General Plan), to legalize urbanisti-

cally agreements, mandatory, the

Plenary municipal March 18, 2011,

and a project to be approved by

the Provincial Heritage Commission

requirements, ethical, legal, proper-

ty and legal have not yet been pro-

duced, "he underlined.

The spokesman of the platform has

been questioned "what asset pro-

tection is making the city of Seville

from the Planning Department and

from the Culture" and the role of

"guarantor of legality

'Compensation Board and "Who lo-

oks after the industrial heritage of

the Glass Factory, which is munici-

pally owned, ie, all of Seville."

Finally, Moreno refers to "numerous

irregularities" such as those relating

to treatment and classification of

debris produced there, "they are

not being removed as the law to

approved landfills that are being

used to consolidate parking ", so-

mething which, as confirmed to Eu-

ropa Press municipal sources, would

not be rushing.

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Page 14

The glass in the Museo del Prado.

Throughout its long history, glass

has combined the functionality for

many applications in common use

with their valuable contribution to

scientific development and its im-

portant role as a material for artistic

creation.

No other means of information bet-

ter than the painting can provide

documentary evidence as true of

the abundant and diverse presen-

ce of glass in the daily life of every

age.

A loyalty binds the pleasure of artis-

tic contemplation. So follow the

tracks left by the glass painting is a

fascinating task that becomes a

privilege when you have the op-

portunity to enter the collection of

the Prado Museum to find, among

the more than eight thousand pic-

tures that make up part of its artis-

tic treasures, various glass objects

represented in them.

This study has cataloged and classi-

fied typologically into three levels,

and to describe its characteristics,

its historical evolution and geograp-

hical distribution.

With the reading of this work goes a

way in which the guide star is the

glass under the various faces of

bottles, glasses, windows, mirrors,

optical instruments, laboratory ob-

jects, etc. .. that is present in the ta-

bles.

Sometimes these pieces are one of

the main reasons of the box, as in

many taverns in other contribute to

the decoration of the scene or part

of it as architectural elements, like

windows and glass doors.

But if the cataloging and indexing

of the tables contain the value of a

patient and painstaking work, the

special attraction for the reader lies

in the magnificent reproductions of

those works in which glass objects

play a major role or provide a sam-

ple particularly illustrative of its most

remarkable peculiarities.

Along the long hundred paintings

of the Prado Museum selected for

inclusion in this book contains a par-

ticularly representative twenty pain-

tings, kept in other museums.

It also includes images of original

glass pieces, belonging to different

museums and private collections

that serve as reference for some of

the ones in the pictures.

The authors, two eminent authorities

in the world of glass: D. José María

Fernández Navarro and D. Capel

Francisco del Aguila.

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Page 15

Glass techniques. Color palette (XIV).

Estefanía Sanz Lobo

The test of Figure 1 was made by

inserting between two sheets of

glass enamels painted with various

binders.

The result is something internal tone

dirty and opaque. You lose part of

transparency.

The experimental work of Figure 2

has been performed with different

nail types, dry sieved, and some

inclusions.

The cloudy veil that had glazed

sandwich parts with a brush is go-

ne.

The major difficulty of this mode of

arranging the enamels is the grain

size thereof.

If too ground, pass with difficulty

through the sieve mesh, embotán-

dolo, and fall onto the glass heavily

forming lumps.

This problem is more evident with

opaque glazes.

The problem is solved in part when

mixed with the enamel too milled

grain another slightly thicker, thus

more slips through the mesh of the

sieve.

• Textures and graphics

Can be created in several ways.

One of them consists in placing a

uniform layer of glaze on the glass

surface, using a suitable medium.

Once dry, before cooking, do graf-

fiti, scratching, etc..

Another possibility is to influence

and scratch the glass surface and

create incisions and lines are then

filled with enamel, then baked.

You can also use application tech-

niques that create texture glazes,

using sponges, crumpled papers,

and other pictorial procedures.

In this case, naturally, it is prefera-

ble that the enamel is dissolved in

an appropriate medium.

Serigraphy

Using enamels instead of traditio-

nal paint etching, this technique

can be performed on glass.

Once the screen has been built,

you can create the pattern:

• using a brush, using a liquid for

blocking certain parts of the scre-

en

• With commercial material, a film

that can be cut as desired.

• With fotoserigrafía system using a

halftone film to separate the pho-

tographic image.

The colors should be dried and ba-

ked one by one.

To bake several at once complex

equipment is required.

Other photographic and printing

techniques on glass can be used

other procedures provided that

the special glazes used are glass,

so that after firing the image per-

manent.

Frit Painting or light painting

Some of the artistic work procedu-

res chips have already been des-

cribed in speaking of the

incompatibilities, defects and color

changes of these materials.

It is a technique that links the use of

various procedures and materials

for glass fusing, flat glass colored as

compatible, frits, glazes, rods or

stringers ... These pieces are distribu-

ted on a transparent glass sheet

and fuse together to obtain paints.

This technique is complex and re-

quires intimate knowledge of the

world of glass. It is necessary to ma-

ny batches with the same piece

before reaching the desired effect.

They can be fried on flat glass co-

lors extending them as the desired

pattern, or placed directly on cera-

mic paper.

Together with rods, sheets and coa-

tings, can be sandwiched between

transparent glass before melting.

3 is a picture of Narcissus Quagliata,

"Unknown at Sea, 1995." Light pain-

ting with molten glass.

• Creation of internal volumes.

Using frits and glazes between la-

yers of glass may create feelings of

deep and internal volume.

This issue is addressed in section

III.2.4.4 inorganic inclusions. Mate-

rials and vitreous enamels.

This piece utilizes several techni-

ques: painted enamel on several

superimposed layers of glass, and

inclusions of gold leaf, silver leaf fal-

se and fiberglass.

With this overlap is achieved an ef-

fect of depth or internal volume.

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Page 16

N E W S (I).

Culture 2012.

Visit the School of Mines.

formation of natural glasses, who-

se idea was very clear and very

recently we had our assistance to

the excellent lecture he gave at

this same school a few days ago

the scientist D. Luis Zapatero Ra-

mos. (See page 11)

Then we visited the excellent

school library, the chapel, where

we saw some beautiful stained

glass windows signed by Maume-

jean, the beautiful auditorium

with excellent glass of the same

firm cited above and other units

of the School.

From these pages we give our

warmest thanks to our good

friend Enrique Marcos Alonso for

providing us the pleasure of visi-

ting this iconic institution.

You can see a comprehensive

report of this visit through this link.

Last June we visited the excellent

exhibition that the Museo del Prado

spent the last stage of the painter

Raphael and his two assistants high-

lights, Giulio Romano and Gianfran-

cesco Penni.

The exhibition is mounted in several

areas: altarpieces, sacred virgins

and big families, small families and

holy virgins, Giulio Romano and Por-

traits.

Complete this shows the painting

"The Transfiguration" in room 49 of

the Museum. It is a copy painted by

Giulio Romano and Penni and also

includes preparatory drawings by

Raphael and is discussed in depth

their creative process.

The original painted by Raphael

was commissioned by Pope Cle-

ment VII for the cathedral of Nar-

bonne and is, after many vicissitu-

des, in the Vatican Museums.

Organized in collaboration with the

Louvre Museum, which will host the

exhibition as a second home, the

exhibition offers a journey through

more than seventy works, forty

paintings and thirty drawings, which

are presented in a chronological

journey through the activity of the

master Urbino his last seven years,

since the beginning of the pontifi-

cate of Leo X (1513) until his death

in 1520.

The selection includes works expo-

sed as famous as the altar painting

of St. Cecilia (Bologna, Pinacoteca

Nazionale) or the portrait of Baldas-

sare Castiglione, the Louvre.

It also highlights the broad repre-

sentation of major works of his disci-

ples, Giulio Romano (c. 1499-1546),

who was the assistant Rafael most

talented, and Giovanni Francesco

Penni (1488-1528), who, under the

strict control of Rafael, participated

actively in the workshop last orders.

In Giulio Romano devotes an exclu-

sive exposure and in which the

works are free from the tutelage of

master, developing trends of its aut-

hor in such ambitious works as

"Stoning of St. Stephen."

It also highlights his paintings that

the Museum of Prado retains its ma-

ture stage, including the large table

is transferred to canvas "the shock

of Sicily" (1515-1516), shown in the

sample for the first time after its res-

toration.

On June 14 a group of Friends of

MAVA were visiting the School of

Mining Engineers of Madrid.

One of the fellows of the institution

made us an excellent tour of the

various departments of the institu-

tion.

We started the visit by the Mining

Museum, where we see an extraor-

dinary collection of minerals.

For our part, we work on increasing

the cultural knowledge of our guide

making a description of the

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Page 17

N E W S (II).

the month of September and ever-

yone will see in the Museum's per-

manent collection.

For anyone who wants to see a lit-

tle of the process, the restoration

will take place the weeks of 17 to

20 and from 24 to 26 July in time

from 17:00 to 19:00 h.

We hope this information is of inter-

est and have their gracious pre-

sence.

Best regards.

The Management.

Restoration of "The Annunciation”.

Small glass gems were performed

using the technique of overlapping

layers, a relatively sophisticated

method in which successive layers

applied Roman artisans glass, and

between which often interspersed

gold leaf, which gave the golden

color.

"This is one of the most ancient la-

yers of glass found in Japan, is a ve-

ry rare accessory that is believed to

be made in the Roman Empire and

later came to Japan," said Tomomi

Tamura, a researcher at the institu-

te.

Perhaps the jewel came to Japan

through a Chinese or Vietnamese

trader who did have contact with

embassies and Roman traders.

Or maybe it was transported to the

islands by a Japanese traveler re-

turning from the continent …

The truth is that this new finding

opens new avenues of research on

the influence of the Roman Empire

in Asia.

The researchers will now focus on

trying to find out how the little gem

of glass made the long road that

separates Rome from Japan, about

ten thousand miles ...

Glass in a grave in Japan.

For anyone who wants to see a little

of the process, the restoration will

take place the weeks of 17 to 20

and from 24 to 26 July in time from

17:00 to 19:00 h.

The Museum of Glass and Glass Ma-

laga informs us that:

Dear friends.

We are pleased that during the se-

cond half of next July will be carried

out in the courtyard of the Museum,

the restoration of part of the new

window "The Annunciation" by

Charles Eamer Kempe, and that in

Archaeologists find objects in a

tomb Roman Empire of Japan.

The recent discovery of remains of

Roman origin in V century tomb ne-

ar Kyoto in Nagaoka, Japan, opens

new avenues of research on the

scope of cultural exchanges bet-

ween the giant West and Asia.

These various glass beads, accor-

ding to researchers at the Nara Ins-

titute could be dated between the

first century and the fourth century

AD.

The glass jewelry have been disco-

vered in the tomb 'Utsukushi' fifth-

century.

Tests conducted by the experts

have established that it is glass be-

ads of about five millimeters in dia-

meter, joined by small pieces of

gold.

The beads are made with natron, a

chemical used by the artisans of

the Roman Empire between 27 BC

and the fall of Constantinople in

1453.

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Page 18

The glass in Museums: Hsinchu.

The Hsinchu Glass Museum is loca-

ted in northwest Hsinchu Park in Tai-

wan, and was officially opened on

December 18, 1999.

The Glass Museum was rebuilt from

the Autonomous Club House, built

in 1936 for the use of accommoda-

tion and celebrations where the

Japanese royal family and govern-

ment officials came to Taiwan to

make their visits.

A home atmosphere pervades

both recreational garden space

outside and inside the building,

much more adapted to the exqui-

site and delicate features of the

craft of glass.

Direct the work of reconstruction

and visualization of the Club House

Autonomous planning was entrus-

ted to architect entire Tieh Chi-Nan

Kuo and Professor Chen-Ning.

The museum has retained the Euro-

pean style of modern architecture

through oriental bricks at the foot

of the southeast corner of the buil-

ding and the classic image of the

lobby.

After combining different needs of

users of diversification into the mu-

seum as the length and analysis of

the five functions of the museum

service (administration, exhibition,

collection, learning, education

and public service) and the latitu-

de and environmental condition of

the museum, was established in

accordance with them.

Creating Glass Museum seeks a

combination of cultural resources

and tourism to help the promotion

of Hsinchu glass industry and let the

public and businesses to participate

and understand the exploration

and application of industry Hsinchu

glass.

In addition to displaying glassware,

the museum shop also promotes

active learning.

The public can go there, playing

and creating their own works, as

well as visual assessment and get

other amazing experiences,

brought by the glass creations.

The arrangement of initial building

of the museum was as follows:

The first floor contained a lobby, of-

fice, meeting room, a billiard room,

a toilet, a kitchen and dining room.

The second floor consisted of a

bathroom, dining room, four decks

of Japanese-style tatami and seve-

ral rooms.

After being restored as the Crafts

Museum Chuchian glass, the first

floor contains an exhibition room,

an audiovisual room / conference

and a meeting room.

The second floor houses a perma-

nent exhibition area, a glass bridge

and a room for the collection.

The building, originally used for the

reception and entertainment of the

guests, now has become a space

for the display of local art.

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Page 19

The Treaty of Guadalupe Monastery Windows (III).

Fernando Cortes Pizarro.

One consequence of this situation

discussed is the fact that throug-

hout the manuscript is transmitted

in all operations and processes des-

cribed an apparent willingness of

austerity, efficiency and economy.

This aspect is reflected when the

author teaches us different ways to

save materials and care of both of

these as tools, given its high price

and difficulty of supplying with ti-

me, or when he insists on not dis-

card waste materials that could re-

turn for use later, or recommended

building stained glass designs glass

fragments.

In this sense, when referring to abo-

ve basic necessities, we must not

forget that the type of glass from

those discussed in this treaty are

not decorative or ornamental glass

large-in fact there are no stained

glass and paintings cooked, but

rather the so-called "white glass"

typical of the time.

This type of glass, composed only

of colorless glass and lead profiles

forming simple geometric patterns

and that both were popular from

the second half of the sixteenth

century until the late eighteenth

century, are implemented more

quickly and therefore much chea-

per than bearing figures and colo-

red glass and are also markedly

functional.

Regarding the use of paints coo-

ked, either to represent or orna-

mental figures in the manuscript no

mention is made to this topic.

I am of the opinion that, rather

than ignorance, the author ignores

this issue since the monastery was

traditionally preferred the geome-

tric windows and simple white,

much more austere and economi-

cal compared with the colors and

figures painted and baked in the

oven.

It is also necessary to further clarifi-

cation regarding the use of the

word "bedriera" or "window" as is

mentioned by the author in the

manuscript.

At present and in most cases, the

term "window" often refers to a ty-

pe of closure of a window compo-

sed of several panels or panels,

which are often divided among

themselves by some kind of racks.

These individual panels could even-

tually constitute in themselves a

small window, while not usual, so

the window-type spoken in the text

would be truly individual panels of

geometric modular repetitive, de-

signed to form part of a larger com-

position.

In this sense, most of the drawings

of panels that appear in the text

are rectangular in shape and have

very similar measures, which if mo-

ved to a scale that would give pa-

nels range between 70cm wide x

83cm high, this is relatively common

measures for most of the panels of

the time and not a window.

10 In a few other concrete panels

are square, being its measuring ap-

proximately 40 or 50 cm per side.

Thus, although the author does not

mention it, it is likely that most of the

windows of the monastery were lar-

ger than that of these panels and

therefore need several of them to

close each span.

Read commented on the various

aspects of the treaty

As we saw in recent years there

have been several studies on the

Treaty of Guadalupe approached

from different perspectives (see bi-

bliography), so it is not the intention

of this article insist on matters alrea-

dy dealt with elsewhere.

The type of reading that would ma-

ke the manuscript is focused mainly

in the commentary, from the pers-

pective of a glazier-restorer present

the technical aspects of the trade

and craft of glass making, reflected

by its author and so abundant and

important in each chapter the ma-

nuscript.

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Page 20

Recycling. Pilot project in Turkey.

The European Bank for Reconstruc-

tion and Development (EBRD) has

made public the announcement

of the expressions of interest from

glass recycling project in Turkey.

The total project is 250,000 euros

and will be funded through the

ICEX Fund Consulting.

The project consists of three main

elements, first market research of

existing infrastructure and policies

in reference to glass recycling,

technical assistance for creation of

a pilot project for recycling of glass

as well as the development of a

medium-term program manage-

ment of recycled glass in Turkey.

It is anticipated that the assign-

ment will last for ten months with

the possibility of extension accor-

ding to the project development

and emerging needs.

It is intended for Spanish consulting

firms, however, 30% of funds be

allocated for experts from other na-

tionalities.

Eligible businesses must provide ex-

perience in waste management

and particularly in glass recycling.

They shall have operational expe-

rience in glass management pro-

grams in Eastern Europe or at least

one of the countries where the

EBRD is present.

The project will have a significant

potential impact on the country

due to economic and environmen-

tal benefits that recycling is glass.

Is a material that is recycled in an

approximately 100%, and which is

recycled after the treatment a sig-

nificant savings in costs, such as re-

ducing the energy required for mel-

ting the glass and increased pro-

cess efficiency due to the reduction

in the amount of material needed

for production.

As a result, the production of glass

recycled through a reduction in

carbon 5%.

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Page 21

Our activities.

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.

Cultural Tours.

Culture 2012 Programme.

In this July will return to the Prado

Museum to see the exhibition of

works by Murillo.

Exposure Murillo and Justino de

Neve. The art of friendship meets

a set of seventeen artist's later

works, from museum collections

in London, Paris, Houston,

Madrid and Seville, among other

cities, from his relationship with

Don Justino de Neve, canon of

the Cathedral of Seville and im-

portant patron and friend of the

artist.

All the pictures shown is an ex-

cellent example of some of the

most important artistic projects

undertaken in Seville in this pe-

riod, which introduces the vie-

wer squarely in the Baroque

heart of Seville and its fusion of

art, religion and culture .

In addition to works from the pri-

vate collection of Justino de Ne-

ve, others were commissioned

for the church of Santa Maria

Seville White (whose reconstruc-

tion was overseen by him), the

Cathedral and the Hospital of

the Venerable Priests, clerics ins-

titution for the canon had hel-

ped to found.

Neve is revealed in this sample

as a patron of some of the most

outstanding and original painter

from Seville, as the four large lu-

nettes of the Foundation of San-

ta Maria Maggiore, three of

them restored for the occasion,

and the Immaculate Concep-

tion of the Venerable (also

known as the Immaculate

"Soult") of the Prado Museum,

which is displayed with its origi-

nal frame which is currently de-

posited at the headquarters of

Focus-Abengoa Foundation.

Also shown are the allegories of

Spring (The Flower), restored for

the exhibition, and Summer

(Young man with a basket of

fruit), the Dulwich Picture Gallery

and the National Gallery of Sco-

tland, respectively, and some

paintings refinadísimas religious

themes on obsidian from the

Louvre Museum and the Hous-

ton Museum of Fine Arts (Rienzi).

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good book, good exposure, .......

We had a lot of time waiting for the

book's authors could find sufficient

funding for editing.

One of them, Paco Capel, and infor-

med us of the painstaking work they

had carried out the teacher and he

Fernández Navarro, and the number

of hours that were spent in the mu-

seum carefully analyzing each of the

tables that were detected the exis-

tence of a glass object.

When we have our hands on this

long awaited book, we'll go to the

Prado Museum and go walking

those pictures that have a specific

mention in the text, in order to get

a taste of the object visually in

each case is noted and analyzing

the context the table that appe-

ars.

We imagine that we can not do it

all "a jerk", but we will little by little,

that if we can use such a simile, it

is best savored like fine wine, a

Page 22

Framework agreement.

The University of Navarra and Guar-

dian, a leading producer of flat

glass in the world, have signed a

collaboration agreement.

The agreement provides for the

holding of an international seminar

on building solutions with glass.

The School of Architecture at the

University of Navarra and Guardian

Glass have signed a collaboration

agreement.

The agreement was signed by Je-

an Luc Morabito, president of

Guardian Glass Spain and Portu-

gal, and Mariano Gonzalez Presen-

cio, director of the School of Archi-

tecture.

The agreement provides for the

holding of an international seminar

on building solutions with glass.

Also, enhance research and trai-

ning of students and graduates in

the use of this material in construc-

tion.

This collaboration is in addition to

sponsoring five scholarships for the

conference 'The Common', organi-

zed late last June, the Architecture

Foundation and Society, and Guar-

dian offered five students of the

School of Architecture at the Univer-

sity of Navarra, and the talks 'Glass,

reflections' that experts have been

conducting Guardian on campus in

Pamplona.

Founded in Detroit in 1932, Guardian

Industries focuses its activities on the

manufacture and processing of glass

for construction, automotive and fur-

niture in plastic injection for automo-

tive and fiberglass construction.

Present in the four major continents

and nearly 20,000 employees, Guar-

dian has become the third largest

producer of flat glass in the world.

In Spain, Guardian has two produc-

tion facilities and processing of glass,

a plastic injection factory to the car,

a national network of shops automo-

tive replacement of windows and a

network of warehouses for distribu-

tion and marketing of their products.

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Guarataro Children Foundation.

which is located in the Royal Glass

Factory at La Granja in Segovia,

Spain.

With an average age of 15 years,

the boys will take four years to gra-

duate with a degree in Spanish insti-

tution.

Another part of the value comes

from the quality of learning materials

imported to work.

The rest is pure talent and work.

As a school created to give them a

real way out of poverty and social

anonymity to the youth of the villa-

ge, there is no commercial produc-

tion workshop.

What students make academic gui-

delines are Spanish teachers who

come regularly every year to teach.

Are these tasks and assignments that

have begun to sell in El Progreso, San

Pedro Sula and Copan Ruinas.

It should be noted that there is no

one similar school in Central Ameri-

ca.

Youth learn to create wonderful pie-

ces of glass using only the finest ma-

terials imported from USA and Euro-

pe, particularly the precious Murano

glass.

Of course, progress has remained

oblivious to the work of the founda-

tion.

Leading doctors, accountants, ar-

tists, local authorities, private compa-

nies and other voluntary agencies

cooperate constantly with Guarata-

ro Children.

Where admire accessories

The House Project Day at Arena

Blanca has a small shop where visi-

tors can see and buy pieces of glass

that children produce.

This is a way to join the cause.

You can also cooperate by making

a donation for the Children Founda-

tion Guarataro, depositing their co-

llaboration in the account of Banco

Ficohsa 0401-09795.

Education for development

For the Children Foundation Guara-

taro education is considered as the

primary means of integration in so-

ciety and as a vehicle for community

development to which individuals

belong, and out of the poverty in

which they find themselves.

Through scholarships is completely

covered the cost of educating chil-

dren, whether studying in private

and public (transport, uniforms, sho-

es, school supplies, tuition, etc..).

"Guarataro Children Foundation."

This foundation has two "Houses of

day," one in Arena Blanca and

another in the Honduran village of

Buenos Aires South cashews, where

about 190 children two and older

receive education, food and sani-

tation facilities.

Also, mothers of boys are integra-

ted into activities of these homes to

get involved and more engaged in

the project and grow as indivi-

duals, learning to cook, manage

and be objects of change for their

community.

Glass school

The other major component of the

foundation is a School-Workshop

on Learning and Work of Glass to

provide new job opportunities for

young people and parents belon-

ging to the project.

The work of the craft-workshop en-

ded in October 2009 and the first

phase of classes began in Novem-

ber of that year.

These courses are being offered

through the collaboration of the

National Glass Centre of La Granja,

Segovia, and are funded by the

Foundation nacre, Switzerland.

In this school the older kids (up to

22 years) learn to make all kinds of

accessories of glass and stained

glass and jewelry and the Founda-

tion aims to within a few years Are-

na Blanca has become a village of

artisans, where domestic and fo-

reign tourists can get to buy glass

items made by experts, by real ar-

tists.

These pieces were carved in cold.

The quality of finish showcases the

talents of the boys and is the result

of the great training they receive.

In this regard, notes that children

are taught by master carvers who

come from the Royal Glass Factory

in Spain, who teach the processes

in hot and cold working glass.

Note that as this is a handcrafted,

each piece of glass that is made is

unique.

In addition, some of the accesso-

ries made under the Tiffany techni-

que or three dimensions, are made

with Murano glass, brought from

Italy, which guarantees the quality

of the jewel.

"Next year will graduate its first class

of artisans, which excites us becau-

se it will be the culmination of an

achievement that has required the

collaboration of many people.

Training workshops

Next to the collective training of

young people, offer the opportuni-

ty to learn a trade.

Thanks to the agreement with foun-

dations nacre (which funds) and

the National Glass Centre

(providing teacher and technical

means), over 2009 have been built

within the precincts of the House of

Day 2 of the village of White Sand ,

a ship which houses the School-

Workshop, where young people

learn to work in a variety of techni-

ques with glass, allowing them in

the not too distant future, produce

and market these products and

pass on their knowledge to others.

Glass work of great value

Part of the value of parts and ac-

cessories that make the young

people of school-glass workshop

comes from the extraordinary tea-

chers who teach.

Young people are trained by the

National Glass Centre Foundation,

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Page 24

The film features the art of glassmaking in Venice.

"Pearls of return"

The film manages to define the

horizons of contemporary society,

emphasizing the curious, authentic

expressions of everyday decisions.

Immigration is a point of view of the

film company, well integrated into

Italian, where ethnic groups can

have a meeting and discover a

mutual cultural wealth.

It is a sign of the demographic re-

volution, which for several years, is

the undisputed bastion of integra-

tion of immigrants. The film accura-

tely represents several films.

Often encounters situations where

the interests pleasant, artistic and

cultural, are a welcome response

to a person of different ethnic ori-

gin.

The story is emblematic of Moulaye

became the first Senegalese immi-

grant perlière in Venice, tells this

passion, with the help of cinema,

the film "The pearls of return."

Moulaye arrives in Venice as a tou-

rist. The love of glass art, refers to

the confidence and passion, one

of the closed environments of Italy,

the masters of Murano, the island

of fire.

This is a new journey to a place of

drama and art in danger of disap-

pearing, carried out through the

eyes of those who can not go

home because we can return

home only if we have something in

hand.

But in a country where the different

color of skin is a systematic racist

where having black skin is equiva-

lent to being an illegal immigrant,

only the intention to sell the bags in

the street, is what happens when

we break the chain.

The answer to this difficult question

is very well explained in the film,

told with skill, which succeeds in

combining social knowledge and

narration.

"The first time I met Moulaye in your

store - said Mark Levy, MD, born

and raised in Venice - asked if I

wanted to learn to do their job.

Having family members who work

in Murano glass, accustomed from

infancy to the legendary discretion

surrounding the island, I smiled the

first time he was offered the oppor-

tunity to learn. From a new pearl,

strange, that works like no other,

combining traditional techniques in

Murano with African designs.

The tragic stories of immigration are

so many!

Describes a thousand ways the tra-

gedies of the route through our

borders.

Few talk about the trip that begins

after he arrived: the battle to get

the job you have chosen, the ne-

cessary passion to learn, the dream

of bringing something home, provi-

ded you return.

Moulaye follow the streets and ca-

nals of Venice offers a unique pers-

pective on the meeting with the

great masters of Murano, with its

art that is both his passion and his

way of life, with the story of an is-

land destined to die caught bet-

ween centuries-old fear of sharing

their knowledge and they can not

compete with Asian products.

The "Pearls of return" - concludes

Mark Levy MD - is a film about the

importance of learning, the respon-

sibility to offer the opportunity,

strength and determination nee-

ded to understand, and the tragic

consequences that result from a

missed opportunity.

The film manages to achieve a key

role when it comes to social mo-

ods, capturing the details of all ori-

ginal, well seasoned with the tones

targeted by the movie camera.

Be a good observer of reality, be-

cause cinema is a mirror of social

situations and often is overshado-

wed by everyday life.

The role of film with a clear focus

and quirky characterizations, ready

to tell a true story, able to unders-

tand better the integration of fo-

reigners.

Only the watchful eye of film can

reveal details not seen, because

you can not photograph the usual

aspects, perhaps hidden, hard to

put before the public.

The film has a key role as prying

eyes, can help understand the dif-

ferent facets of society, often igno-

red by people.

Mark Levy MD, Venetian doc, he

worked as assistant director of aut-

hors such as Spike Lee (Miracle at

St. Anna), Marc Forster (007: Quan-

tum of Solace), Chris Weitz (Twilight:

Eclipse), Lasse Hallström

(Casanova), Tony Gilroy (Duplicity),

Sofia Coppola (Somewhere), and

the Italian directors such as Giaco-

mo Battiato Gianluca Tavarelli, Gui-

do Chiesa.

He gained international experien-

ce on movie and advertising in the

U.S., England, France, Spain, South

Africa, Morocco.

Since 2006 lives in New York, where

he studied at NYU's Tisch School of

the Arts, and collaborated with di-

rector Tom McCarthy's "The Visitor -

The Visitor".

In 2011 produced the short film "A

Chjana", winner for Best Short Film

at the Venice Film Festival the sa-

me year and is currently in compe-

tition at SXSW and silver ribbon.

The "Pearls of return" is his first docu-

mentary.

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Other trends. Ripolles in China.

The artist most international Caste-

llon, John Ripollés, opened last Ju-

ne at the prestigious Beijing World

Art Museum in his first exhibition in

China, the first of a series of sam-

ples that will tour the Asian country

until June 2013.

Faced with huge host public, the

artist, who turns 80 years in Septem-

ber, has introduced 'lifetime' in this

work, 'Ripollés Universe', which

brings together a collection of over

80 works, including sculptures, prints

and paintings and are distributed

inside and outside the museum

grounds.

The cultural attache of the Spanish

embassy, Ignacio Morro, who parti-

cipated in the inauguration, said

that Ripollés is the first Spanish artist

to the World Art Museum devotes

extensive touring as a year and a

total of eight exhibitions throughout

the country.

"I had to wait until you have 80 ye-

ars to enjoy the shows most impor-

tant and beautiful of my life," says

the author, while recognizing in the

Asian giant "a stunning country, in

every way. I say that is a country

who sleeps with his eyes open, be-

cause its citizens off endless desire

to know everything around them

and show a keen interest in being

leaders in the world. "

In fact, Ripollés think your desire to

grow in every way contrasted with

"the mistake we make in Spain,

compared to investment in scien-

ce, research, culture, etc". "While

the Chinese, advanced economic,

begin to open to other cultures, we

are going in the opposite direction

in every way."

And, at this point, hardens his spe-

ech against the government, befo-

re the drama of the current Spa-

nish emigration. "The difference

between those who migrated in

the 50's and now is enormous. Be-

fore he left peonage labor, sen-

ding money to their families in

Spain. The tragedy now is that he

leaves a generation of scientists,

researchers and graduates that

cost us a lot of money for training

and to be productive in other

countries. What future forecast

then we have in our country? "he

notes.

The artist chides the lack of "spirit of

brotherhood" and "ignorance" of

successive rulers. "It lies too. We

wanted to believe that an econo-

mically strong country were prepa-

red to cushion the global crisis, but

the truth has come to light. We are

worse than others and above

'people do not' to pull the car for-

ward all combined. Rather, they

throw stones at the head and bla-

me each other, "he laments.

'Universe Ripollés'

The exhibition displays the Castellon

'Ripollés Universe', contains a large

collection of 83 works divided bet-

ween painting, printmaking and

sculpture in different formats, most

of them newly created.

The catalog consists of 32 sculptu-

res, 34 prints and 20 tables that are

appreciated most distinctive cha-

racteristic of the author.

The vitality of the images shown in

the graphic or sculptural work, and

above all, the use of color in multi-

ple combinations constitute his let-

ter in China, where his artistic lan-

guage enjoyed a warm reception

among the many attending the

premiere.

The museum's director, Feng

Guangsheng, compared with other

Ripollés concerning Spanish con-

temporary painting by Dali, Picasso,

Miro and referred to his work as "a

poem of color."

The exhibition will remain in Beijing

until mid-July, then travel to mu-

seums with which the World Art Mu-

seum has collaboration agree-

ments and have funded the pro-

ject. By traveling, paintings, sculptu-

res and prints already exhibited in

the capital city of the museums visi-

ted Jinan, Guangzhou, Wuhan,

Chengdu, Nanjing, Shanghai and

Hangzhou and is expected to close

in Hong Kong, although the latter

cites lack concrete.

One of the exhibits also will be inclu-

ded in 2013 in the calendar of offi-

cial events to commemorate the

40th anniversary of diplomatic rela-

tions between Spain and China, an

event that the Spanish embassy in

Beijing held with different economic

events, social and cultural.

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Page 26

Casa Lis Museum in Bilbao.

Alfonso Fernandez Mañueco recei-

ved the Mayor of Bilbao, Iñaki Aku-

na, who gave a reproduction of

the jurisdiction of Salamanca and

a piece of blown glass that is part

of the collection "Milky Way" of the

Museo Casa Lis.

The Museum of Art Nouveau and

Art Deco Casa Lis will be promoted

in The Corn Exchange Bilbao, cultu-

ral and commercial center of the

municipality, which can be pur-

chased from the forthcoming self-

produced products already sold in

the museum shop Salamanca.

The mayor of Salamanca, Alfonso

Fernandez Mañueco, has given

the alderman of the city of Bilbao,

Iñaki Azkuna, who visited the Town

Hall, with reproduction of the juris-

diction of Salamanca and a piece

of blown glass, handmade is part

of the careful collection " Milky

Way "at the Museum of the Casa

Lis.

Following their meeting in the City

of Salamanca, Alfonso Fernandez

and Inaki Azkuna Mañueco visited

the exhibition hall of Santo Domin-

go "Traces de Unamuno," which

brings together 48 paintings

painted by the Basque artist Igna-

cio Ipiña in landscapes dominated

by Salamanca and Bilbao.

Alfonso Fernandez stressed that Iña-

ki Mañueco Azkuna is a lover of Sa-

lamanca and the figure and works

of Miguel de Unamuno.

He recalled that a man of his word

because, when the December 31

could not attend the annually pays

tribute to the writer and thinker Sa-

lamanca Bilbao, Azkuna already

announced that during the 2012

"Year of Unamuno", come to Sala-

manca.

"The thoughts and writings of Miguel

de Unamuno built bridges so strong

that today, 75 years after his death,

are joining his hometown, Bilbao,

and his adopted city, Salamanca,"

said Alfonso Fernandez Mañueco.

The mayor felt that this union bet-

ween Salamanca and Bilbao, is re-

flected also in the 48 paintings by

Ignacio Ipiña with "gray Bilbao and

Salamanca golden melted forever

the emotions of Don Miguel" with

familiar places to Unamuno and

Inaki Azkuna as Round Street, birth-

place of the philosopher, to Cross

Street, where he lived many years,

the Canton of the Seven Streets, Itu-

rribide, la Rua or the Puente de San

Antón.

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Corning Expansion.

The Corning Glass Museum has un-

veiled its plans for expansion at a

cost of $ U.S. 64 million, which when

completed, will make the museum

in the world's largest space dedica-

ted to presenting contemporary art

in glass.

Designed by New York architects

Thomas Phifer and Partners, the

project includes the creation of a

new north wing with bright galle-

ries, and one of the largest facilities

for live demonstrations of glass blo-

wing and glass.

The project is funded entirely

decided to take to relieve pressure

on the successful and visited the

original museum, which receives

400,000 visitors each year.

Phifer's design creates 26,000 squa-

re feet of space for a gallery full of

light bathed by making available

an optimal environment to appre-

ciate the works of art.

The design also includes the reno-

vation of the ventilation systems of

the "old glass factory" Steuben,

building adjacent to the existing

museum building.

The new north wing will have an in-

novative facade of white aluminum

and glass. Which will emerge sheets

perpendicular special ultra-thin

glass.

These materials are juxtaposed with

the black exterior of the building res-

tored, creating an interesting dialo-

gue between the two structures.

The project is slated for completion

by 2014.

The Corning Museum of Glass Glass

houses the world's largest, with more

than 45,000 objects reflecting 3,500

years of art and history of glass ma-

king.

The museum is dedicated to art, his-

tory, science, research and exhibi-

tion of glass.

Exhibits and activities are suitable for

all ages.

Better still to behold the miracle of

glass making is that you do it your-

self!

A forty-minute workshops offer visitors

of all ages the opportunity to make

their own souvenir glass.

Each project has a charge of $ 10.00

- $ 40.00 USD. Ask at the Information

Centre for tickets or additional infor-

mation.

We recommend booking tickets in

advance.

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Page 28

Glass workshop in Murcia (XIII).

JIMENEZ PEDRO CASTILLO

JULIO NAVARRO PALAZÓN

JACQUES THIRIOT

On this preparation was applied

a rather rude mud plaster as a

finish. The mouth, disappeared in

its upper part, shows signs of

what would be an arched top

(Plate 25), was opened north-

ward to an ashtray just because

we documented was affected

by a posterior fossa.

We could not document any re-

mains of the upper chamber of

the grill nor, except the start of its

six fireplaces perimeter.

The function of this furnace, simi-

lar in form to those employed in

the potteries and completely dif-

ferent from the rest of the works-

hop, it is difficult to elucidate so

we propose two hypotheses:

1 st serve for heating ceramic

crucibles used to contain glass

frits.

2 nd that was intended to ac-

commodate the newly blown

glass pieces to cool gradually.

According to the first hypothesis

and taking into account the fo-

otprint of the furnace crucible 2

documented, would have 28 cm

diameter and a height approxi-

mately equal, it would be possi-

ble to cook at 35 crucibles,

arranged in heights of 5 7 cruci-

bles, however There are serious

objections which we shall dis-

cuss.

Defender pottery kiln function is

to accept that there must have

been Puxmarina facilities for the

preparation of the clay and ma-

king parts that have not found

any remains.

It would be logical to assume

that a large Madîna as Murcia, in

which there were many potte-

ries, be much cheaper to order

the pots to a ceramic workshop

to try to make them in the glass

workshop.

Regarding the second hypot-

hesis should be clarified that the

gradual cooling process is essen-

tial once blown glass pieces as

they break otherwise.

That is why the treaty of al-

Saqati hisba (Malaga, XIII centu-

ry) specifies that "prohibited on

glass to make the glass furnace

where it is cooling before he has

completed a day and a night.

This is because it will crack if you

withdraw before the deadline. "

This is reflected also in the Alp-

honsine codex known as the La-

pidary: "Stone is slightly melted in

the fire, when they drew et dell,

it seems to its substance.

But if you bring forth out soul

grew less than in poc poc is co-

ol, quiebrase ".

The cooling could be carried out

in separate furnaces or cham-

bers that took advantage of the

heat of the same melting furna-

ce where the glass adjacent to

the space where the crucibles

were placed or situated on it.

The latter type is documented in

a miniature manuscript Hraba-

nus Maurus (IX) from Monte Cas-

sino and a thumbnail of the

Cantigas Alfonsine.

The cooling chambers are na-

med Mahmas kawwara or glass

workshops in the traditional Arab

world.

In none of the excavated kilns

have found any remains that

might indicate the existence of

a cooling chamber disposed

horizontally with respect to the

core of the furnace, but can not

rule out the possibility that count

with upper chambers.

The center position of oven 5

may be another argument for its

use as annealing or cooling spa-

ce.

The oven of the square Belluga

The site that appeared is approxi-

mately 50 m east of Puxmarina

workshop on the corner of the

square with the street Belluga Po-

lo de Medina (Fig. 2).

The excellent state of preserva-

tion allows more safety study and

compare Puxmarina ovens.

It is an oblong plant structure is

practically oriented east-west, is 4

m long and 2.80 m wide and has

a height from the bottom of the

hearth of 1.25 m (Fig. 19, Fig. 26).

The interior is particularly well pre-

served almost all of its U-shaped

bench, which shows the traces of

the crucible (Plate 27).

On the bench was where the frit

codified, possibly colored,

around a central basin, rectan-

gular, which served to prepare

the primary glass, and that exten-

ded to the west by a moat, as an

appendix, was outside of its cir-

cular perimeter.

The outside of the oven, best pre-

served in the west, was built of

adobes (some reused from a pre-

vious issue), baked bricks, stones,

fragments of crucible and furna-

ce, with green vitrification, all

made with clay.

Bricks and bricks, whole or incom-

plete, are generally in radial posi-

tion, externally surrounded by a

ring of vertical bricks that protect

the lower part of the construc-

tion. The wall has a width that

ranges between 48 and 57 cm,

reaching even 70 cm wide near

the door of the stove.

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Page 29

Mona Hatoum at the Miró Foundation.

At first glance the room looks emp-

ty. The work, an ethereal web of

glass beads, hanging from the cei-

ling add an organic touch to the

geometric space.

It's Web, recent acquisition of the

La Caixa Foundation, organizer

with the Miró Foundation, the ex-

hibition Mona Hatoum. Projection,

which is dedicated to Joan Miró

Prize, awarded in April.

"We did not start the tour with a

play too iconic and linked to the

geopolitical interpretation of an ar-

tist who has been typecast in too

many labels," explained Martina

Millà, curator of an exhibition that

"opens the semantic field of the ar-

tist and connects his language with

that of the vanguards of contem-

porary art. "

Is the case of wire cube, which re-

fers to Sol LeWitt and optical art

with suggestive visual effects, and

splash in glass sculptural Murano

(Italy), all a nod to David Hockney.

"The Hanging Garden organic ba-

rricade installed in the courtyard of

the Miró, which will change as the

seeds inside grow, does not hide its

connection to land art, "said Mile.

The Commissioner made a correct

selection of work beyond chrono-

logical or thematic approaches,

their ability to dialogue with the

space and provide an overview of

the artist as possible outside the to-

pic of Lebanese women, of Palesti-

nian family in exile in London since

1975 and politically compromised.

"Art is open and does not know po-

litical agendas. Interpretation is in

the mind of the beholder," said Mo-

na Hatoum was born in Beirut and

one of the most interesting artists

on the international scene in front

of an installation with pumps of va-

rious types , made with colored

Murano glass.

"People know I'm Palestinian and

think are bombs against Israel, but

there is no sign with their origin or

destination. Each one can interpret

as you like. What interests me is the

contrast between the beauty of the

material, the refinement of manu-

facturing and the feeling of fear and

danger arising from the object re-

presented, "he said.

The vast majority of the pieces em-

body this dichotomy between beau-

ty and horror, and seduction and

danger.

Just as the Hanging Gardens de-

monstrates that life can arise in the

most inhospitable places, Suspen-

ded swings, have extended their

sway ghostly but visitors are gone

(it's worth staying to watch it), refers

to the imbalance, instability and

precariousness in which we live, but

this does not remove the desire to

have fun.

A curtain leads to more domestic

works: his self-portrait as endoscopy

and colonoscopy, projected on the

plate of a beautifully set table, and

oversized cookware linked to the

dreamlike world of surrealism.

In an extraordinary crescendo, the

exhibition displays a monumental

sand mandala mechanic, the

"creature power" Undercurrent and

the work created especially for this

exhibition, Turbulence, a slippery ta-

pestry made of glass marbles.

"The language of art is slippery. I do

not work with a predetermined stra-

tegy, I rely on my intuition and pla-

ce. Not everything is as it seems and

I do not want to provide answers but

to raise questions," he said.

Hatoum gave up the € 70,000 prize

to his old school, Byam Shaw School

of Art in London, to help foreign stu-

dents.

A political and poetic as his work.

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Page 30

Lightweight glass.

An ultra-thin, flexible glass that can

be wrapped objects was released

in Boston by the American compa-

ny Corning.

Call Willow Glass, glass was displa-

yed in the week of the Society for

Information Display's DisplayWeek,

an industrial fair held in this U.S. city.

Corning, based in New York, is the

company that developed the Gori-

lla Glass, a thin, transparent glass.

According to the company, the

material could be used not only

smart phones, but display screens

that are not flat.

But until those screens appear on

the market, the glass may be used

for the manufacture of mobile de-

vices.

"Every day the screens become

more and more ubiquitous, manu-

facturers tend to make the hard-

ware and its thinner screens," said

Dipak Chowdhury, director of Wi-

llow Glass in Corning.

The prototype was exhibited at the

fair as thin as a sheet of paper. The

company said that the material

can reach a length of only 0.05

mm thick, much thinner than cu-

rrent screens 0.2 mm or 0.5 mm.

New to Gorilla Glass?

The material used to make Willow

Glass is the result of the glass ma-

nufacturing process the company

calls Fusion.

The technique involves melting the

ingredients to 500 degrees and

produce a continuous sheet that

can be wound in a mechanism si-

milar to that possessed by a tradi-

tional press.

The winding method is much sim-

pler and faster in terms of mass

production than the conventional

process of creating glass slides su-

perslim, the company said.

In the future, Willow Glass could re-

place the widely used Gorilla

Glass, which is currently in various

smart phones and tablets.

In the technology fair Consumer

Electronics Show this year was held

in Las Vegas, Corning Gorilla Glass

unveiled the 2, which is 20% thinner

than the original product, but with

the same resistance.

The first generation of Gorilla Glass,

which was launched in 2007, has

been used in more than 575 pro-

ducts from 33 manufacturers. It is

estimated that over 500 million de-

vices are made with it.

The first to see their potential was

the founder of Apple, Steve Jobs,

who contacted Corning when the

company was developing its first

iPhone screen in 2006.

Further developments

Willow Glass is not the first attempt

to produce a flexible display futuris-

tic.

In recent years, scientists around

the world have been working with a

material called graphene, first pro-

duced in 2004.

This is a form of carbon supercon-

ducting films made from a single

atom thick.

In a BBC interview, the researcher

at the University of Cambridge An-

drea Ferrari said that prototypes of

flexible touch screens made with

graphene have been developed

and also to be extra strong and

flexible in the future may even give

users a "sensational" experience fe-

edback.

"We went from physical buttons to

touch screens, the next step is to

integrate some sensory capabili-

ties," said Professor Ferrari.

"Your phone will be able to feel if

you are playing, will capture the su-

rrounding environment will not have

to press a button or switch it off, he

will know if you are using it or not."

In a different project, scientists at

the Media Lab's Human Canadian

University Queen's University and

the Research Group of Environ-

ments Motivational State University

of Arizona, created in 2011 a proto-

type flexible millimeters thick of a

smart phone made from of a mate-

rial called electronic paper.

Scientists said they have used the

same e-ink technology (e-ink) than

that used in the Amazon Kindle.

"This computer looks, feels and ope-

rates like a small sheet of interactive

paper," said Roel Vertegaal doctor.

"You interact with it to bend like a

cell phone, turning the page from

the corner or writing on it with a

pen."

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Page 31

Glaziers returning to the shop.

Dirsa company, mainly oriented to

the sector of glass shattered.

The firm, with deep roots in the

region, presented a record of

employment for the extinction of

entire workforce: seventy people

who had their jobs well Dirsa

headquarters in Silvota stores well

in Oviedo, Gijón, The Felguera and

Aviles remained well on the street.

But every cloud has a silver lining,

or so I believe four former

employees of the delegation of

Avilés' Dirsa "who have decided to

go ahead with the business of

glass.

Rafael Moreno Well, Joaquin

Marquez Moreno, Maria José

Garrido Lamelas Diana Faustino

Alvarez are four brave convinced

that the glass business is profitable.

So they have joined forces to form

a limited company and will soon

open his own business in the same

location where already working in

the street The House and rent.

"Our activity will be the same as we

had, people know us and are

eager to start 'manifest and the

new company responsible for the

glass in Oviedo, who now live

immersed in a sea of red tape,

permits, lawyers ... The quartet

wants to do things right from day

one.

"What we want also to thank

customers the confidence and

encouragement they have given

us throughout this time," agreed

Rafael Moreno, María José

Lamelas, Faustino Moreno and

Joaquin Garrido, every day since

closed Dirsa are supported by

repeat buyers.

"Right now we just want to start

working, if it can be better

tomorrow than last. The crisis we are

not afraid, we can only be a little

nervous because this has been very

rushed and we are not in the

dynamics of walking with

paperwork and other "recognized.

But do not be put off.

They know that they expect many

residents of the region Avilés and

architects and design or decoration

that usually work with them to great

works.

They would endorse the

experience. Rafael Moreno entered

Dirsa with just turned sixteen and

forty-three years of work with this

firm. Faustino Garrido has 23 years

working in the glass sector, thirteen

and twelve Lamelas Maria Jose

Joaquin Moreno.

The four now start from scratch with

its limited partnership. Forecasts

quartet is opening the doors glass

business in the first days of July.

The name of your company? At the

moment it is still a mystery. Rafael

Moreno, Faustino Garrido, María

José Joaquín Moreno Lamelas and

prefer, for now, recognize them as

the glassmakers of Avilés.

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Page 32

How does.

This month we include some pictures of the technique practiced by Richard Jolly.

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Page 33

Genoveva Garcia in Segovia.

depends on the situation in a perso-

nal level.

The nature and the desire to repre-

sent situations of everyday life is the

inspiration for this Segovia that ma-

nages to capture what you feel in

each of his works.

The artist was invited to various ex-

hibitions and events by the late Jo-

se Maria Moro.

The sculptor recognizes that the si-

tuation in Segovia is very hard, so

she started with exhibitions in galle-

ries that she sought or bars in the

province.

In his long journey, has exhibited his

work in Barcelona, Germany, Sevi-

lle, Santiago de Compostela, Fran-

ce and several times in Madrid, in

places like the Museum of Glass in a

group exhibition Alcorcón in 1998.

Genoveva Garcia recognizes not

expect anything from the project,

just want to participate in a move-

ment "excellent" by the County

Council to the development of art

in Segovia.

The work will be on display until July

2 in the hall of the Provincial Palace

of Segovia.

Genoveva Garcia Lopez yesterday

presented his work in the "A" ca-

rried out by the cultural area of the

County Council, with President of

the Provincial Francisco Vazquez.

The work included in this project is

a sculpture consisting of four volu-

mes of glass representing a symbo-

lism about life, death and above

all nature, interlaced with iron

hardness and identified on a log

that is related to the fire element

used to melt the glass.

The artist Segovia, has a long

history within the glass sculpture.

He began his training by studying

Arts and Crafts, but it was in 1990

when he discovered the glass and

as the artist has "blown away".

His work does not follow a single li-

ne, has a mix of different variables

that manage to reflect your perso-

nality and has managed to see

how different materials, "can ex-

press many things."

Bases his work on stage and not

only dedicated to the glass and

iron, because the way they work

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Page 34

Glass Art Society 2012.

Posted in Glass Objects.

From 13 to 17 June 2012 brought

together more than 1,200 artists

and connoisseurs of glass to partici-

pate in seminars, demonstrations of

various techniques, exhibitions and

conferences.

During the 2012 marks the 50th an-

niversary of "American Studio Glass

Movement," which had its begin-

nings in the Toledo Museum of Art

(U.S.) in the hands of Harvey Little-

ton, who in 1962 opened two expe-

rimental glass workshops to show

that the glass is a suitable medium

for the expression of artistic ideas in

a studio setting.

Harvey Littleton was a man with an

insatiable curiosity about the glass,

this is undoubtedly due to his fat-

her, a scientist who developed Py-

rex in 1915 and, often led him to

work with Corning Glass Works.

He organized the first hot glass pro-

gram at an American university

(University of Wisconsin-Madison).

Several students from Littleton

helped spread the study of art glass

along the U.S., including Marvin Li-

pofsky, who started a glass program

at the University of California at Ber-

kley, and Dale Chihuly, who deve-

loped the glass program at Rhode

Island School of Design and later

founder of Pilchuck Glass School in

Stanwood, Washington.

Until the 1940s, the typical percep-

tion of the glass came from its use

as an industrial material applied to

functional and decorative objects

especially designed for glass desig-

ners and quantity trained by skilled

glass artisans.

In the second half of the twentieth

century, a time filled with the spirit

of experimentation, the glass was

uncharted territory that allowed

multiple manifestations of bright, sa-

turated colors with great lightness

and plasticity.

This set in motion a movement that

was driven by an unprecedented

collective enthusiasm and has al-

ready become an international

phenomenon that continues to ins-

pire experimentation.

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Page 35

Angela Teunissen in La Granja.

On June 28 officially opened the

exhibition of works by Angela Teu-

nissen at the Tech Museum of Glass

in La Granja (Segovia).

In our Newsletter we reported last

May our visit to this exhibition and

the excellent impression that we

had caused the works of Angela.

This time we came together at the

Museum Angela many friends and

students who have attended the

course she has taught for eight

days in these units.

After a few words of the Director of

the National Glass Centre

Foundation, Aurea Juárez, and the

Museum Director, Paloma Pastor,

Angela Teunissen explained his phi-

losophy on the conduct of his

works in glass.

Fundamentally, Angela pursued in

all his works his desire to share their

experiences.

Therefore, most of his works are

composed of two parts.

She says that is to sell and the other

to give and share their work with

the buyer.

In connection with the works that

we saw in our previous visit to the

exhibition, we note that some of

those that were now exposed we

had not seen, and we said Angela

had sold some and had to replace

others in their place.

It also gave us the pleasant news

that the gallery Gaudí, Madrid, was

interested in his work and had for-

malized its representation to pre-

sent their achievements in major art

fairs in the world.

We also reported that the next day

16 will open an exhibition of his

works in the Museum School in the

town Alcarria of Luzon. We are very

happy because this is the second

representative of the glass art to ex-

hibit at this place, since previously it

had our good friend Pedro Garcia

in July 2011, and whose information

we include in our Newsletter of that

month .

We can not attend the inaugura-

tion because we'll be enjoying our

land Moroccan deserved rest, but

we promise to Angela that once

we return from our holiday, we mo-

ve to Luzon to see the exhibition

and greet the Councillor for Culture

of the City Council, Javier Herguido

Lopez.

After the inauguration of the works

of Angela we visited the pieces that

have made the five students who

participated in the course Teunissen

has taught for eight days at the

Foundation.

Each of them received the diploma

and we were describing each of

the works they have done.

Finally we were shown the joint work

they have done under the supervi-

sion of Angela.

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View photos

Page 36

The sun and the glass melt in Dusseldorf.

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On June 20 the organizers of the

International Exhibition of Glass,

Glasstec, and the International Fair

of Technologies for Solar Energy

Production, solarpeq, a luncheon

held in Madrid to present to the

press both events taking place

alongside the 23 to 26 October

2012 at Messe Dusseldorf, Germa-

ny.

During the presentation Hans Wer-

ner Reinhard, vice president of

Messe Dusseldorf and Joachim

Schmid, director of the German Fe-

deration of Industries of machinery,

provided the main details of these

two major professional events.

What makes the combination of

fairs and solarpeq Glasstec so spe-

cial is the encounter between the

glass and solar energy, which is

produced in a unique way to Dus-

seldorf.

The aim of this dialogue between

the two sectors is showing new sa-

les opportunities for the glass

industry and provide the solar in-

dustry new media and drives in the

race to reduce costs and increase

efficiency.

This objective is also the focus of

the specialized conference "Solar

meets glass" on the production of

solar technology that comple-

ments the expectations of exhibi-

tors and solarpeq glasstec.

Organized in collaboration with So-

larpraxis be held on 22 at the fair-

grounds and 23 October in the

Congress Center East.

The conference includes among its

components with both suppliers

and customers to take into ac-

count equally all topics of interest

from both perspectives.

Glasstec is a trade fair that brings

together exhibitors from 52 coun-

tries and attracts visitors from 86

countries, in its last edition in 2010,

1,274 exhibitors presented their in-

novations and products in the

Düsseldorf Exhibition Centre, with

over 40,000 visitors.

Glasstec is definitely a venue for in-

ternational managers are those

who make investment decisions.

The show became a showcase for

the entire value chain of the glass

industry, production and proces-

sing, with an extensive program ai-

med at a broad prospect ranging

from architects, civil engineers,

planners and business fronts in the

solar sector.

Given the scale of the fair, the year

2012 edition of this new feature ca-

lled "compass trends" that will guide

the search for new products and

innovations to visitors of the fair.

According to Professor Don Udo Un-

geheuer, president of the Federa-

tion of the Glass Industry and Glass-

tec 2012, summarizes this as follows:

"Glass is an important material and

future prospects, which saves ener-

gy and resources. Therefore, the

energy change of course should

not become a competitive disad-

vantage for the German glass in-

dustry, for a secure future for the

glass manufacturing industry in Ger-

many in the future will also contribu-

te decisively to achieve national

and global climate protection. "

This year again, the industry de-

monstrated in the Glasstec has

prospects and is versatile.

"We Glasstec is, of course, a date of

great importance for the sector.

There we will have opportunity to

show what is sustainable and inno-

vative glass as raw material, "says

Ungeheuer.

Page 37

Benefits for a company Cantabrian.

A Cantabrian company benefits

from more than 171,000 euros of

regional incentives

A company of Torrelavega, Revici-

clo SL, will benefit from 171,468 eu-

ros of regional incentives, by Order

published today by the Ministry of

Finance and Public Administration.

A company of Torrelavega, Revici-

clo SL, will benefit from 171,468 eu-

ros of regional incentives, by Order

published today by the Ministry of

Finance and Public Administration.

This is the only company Canta-

brian to have been granted regio-

nal incentives for investment pro-

jects, which in the case of amounts

to 2,143,362 euros Reviciclo.

This limited company with eight em-

ployees are located in the industrial

area of Tanos-Viérnoles and is dedi-

cated to handling and processing

of flat glass.

Specifically, treatment, recovery

and glass recovery, collection, sto-

rage and sale of waste, dirt and

waste, transportation of goods

themselves and others; and stora-

ge, distribution, handling and ma-

nufacture of glass objects and ma-

terials and packaging.

The Law on regional incentives to

correct economic imbalances bet-

ween areas is a tool for statewide

activities aimed at promoting entre-

preneurship with selective intensity

in certain regions of the state in or-

der to deliver balanced economic

activities within it.

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Page 38

Carlo Scarpa exposition. Venini 1932–1947.

The exhibition Carlo Scarpa. Venini

1932-1947, opens a new exhibition

space dedicated to the project

"Glass breaks."

During the same days, which marks

the Venice Architecture Biennale

2012, numerous events will take

place and there will be many rea-

sons to visit the city of canals.

The award of the Next Landmark

contest, sponsored by Floornature

will be an opportunity to discover

new talents among young desig-

ners from around the world.

There will also be initiatives to redis-

cover some undisputed masters of

architecture, as Carlo Scarpa, star

of a new project "Glass Theme",

promoted by the Fondazione Gior-

gio Cini.

The exhibition "Carlo Scarpa. Venini

1932-1947", curated by Marino Ba-

rovier, narrates, through the more

than 300 exhibits, a specific period

of intense activity of the architect:

the artistic direction of the Venini

glassworks (1932-1947 .)

The works on display are prototy-

pes, unique, original drawings and

sketches and historical photo-

graphs and archival documents

from private collections and mu-

seums around the world gathered

for the first time.

The intention is to present a compa-

rison between the activity of Carlo

Scarpa as a designer and a career

in architecture, in addition to rese-

arch and reflect on the meaning it

had in his work the period spent in

Murano.

Title: Carlo Scarpa. Venini 1932-1947

Dates: August 29-November 29,

2012

Location: Fondazione Giorgio Cini,

Venice, Island of San Giorgio Mag-

giore - Italy.

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Page 39

Castillo de San José de

Valderas.

Avda. Los Castillos, s/n

28925 ALCORCÓN

MADRID

Nuestro Boletín tiene su

redacción en:

Al vidrio por la cultura

The Association of Friends of

MAVA was incorporated on Ju-

ne 21, 2003 in accordance with

existing management.

The purpose of this Association is

to promote, encourage and

support many cultural activities

in the broadest terms, are rela-

ted to the mission and activities

of the Glass Art Museum of Al-

corcon.

Our goal is to develop and co-

llaborate with other public or pri-

vate entities to promote, protect

and promote the art and culture. www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Teresa Fernández Romojaro

Tesorera

Mª Angeles Cañas Santos

Vocales

Rosa García Montemayor

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

Mª Luisa Martínez García.

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Page 40

Line of research. Images.

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Fig. 1

Fig. 2

Fig. 3

Page 41

Techniques. Images.

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Fig. 1

Fig. 2

Fig. 3

Fig. 4

Page 42

Glass Workshop. Images.

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Fig. 2

Plate 25

Fig. 19

Plate 26

Plate 27

Page 43

Angela Teunissen in La Granja. Images.

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