Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Balance. M. A. Carretero.

The end of the year 2014 is approaching and also to wish all our readers to spend one Christmas as pleasant as possible, it is time to take stock or stock of the activities of our Association this year we are going.

Our current project "star", "MAVA Concert" has had nine concerts a month, plus six concerts in the First Cycle Piano & 5 concerts at the First Cycle Classical Guitar, both called "Castle Valderas".

On the other hand, it is eleven Bulletins that have published, as in previous years, we reserve the month of August for our summer break.

We visited a total of eleven exhibitions, mainly painting, different Madrid Museums.

We drove to Cerdanyola to visit the beautiful stained glass "Ladies in Cercanyola" published

an extensive report of our visit in the Bulletin of last May.

In this May in Toledo visited the exhibition of our partner Pablo Pizarro in The Caves of Hercules, publishing the corresponding article in our Newsletter last June.

Also in this Bulletin published the report referred to our visit to the Museum of Segovia to attend a conference Paloma Pastor, Director of the Technology Museum of Glass.

Also in this issue includes the story of our visit to the exhibition of Silvia Levenson at the Teatro Goya Multiespacio, Madrid, on the occasion of the Congress "Universal Jurisdiction in the XXI Century".

In June we made a first tour of the Romanesque of the province of Guadalajara, visiting the buildings located in various towns of the province.

In August we visited in Segovia studio-workshop Alba Martin, publishing a report on the visit to our Newsletter.

Also in August visited the town of Buitrago Madrid.

In October we went to Toledo for a spin by the

Craft Fair of Castilla-La Mancha, greeting craftsmen glassmakers were at the fair.

In September we moved to Rome and had the pleasure of seeing the collection of glass that is exposed in the Vatican Museums.

In October we visited Aranda de Duero to attend the opening of the exhibition "The beauty of the fragility" of the glass of Segovia and visit The Ages of Man. Here is a report of this event in our newsletter.

And just attend the International Congress on World Heritage Cultural Landscapes and held at the Pavilion Cecilio Rodriguez Gardens in Madrid's Retiro.

For next year we plan, as most notable exponents, travel to the UK to attend the Biennial of Glass in the town of Stourbridge and in October to make a return visit to the French city of Strasbourg to attend a year the opening of the Biennale of Glass to be held in that city.

All these visits are announced in advance in our respective newsletters so that our readers can join at any time.

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

Anu Penttinen

Page 2

Intellectual

Property Law

BOOK III

Protection of the

rights recognized

by this Law

TITLE IV

Management bodies

of the rights

recognized in the

Law

Article 157 Other

liabilities

1. Collecting

societies are obliged:

a) A contract with

anyone who requests

it, unless good

cause, the grant of

non-exclusive

licenses of rights-

managed, under

reasonable

conditions and low

pay.

b) To establish

general tariffs to

determine the

remuneration payable

for the use of its

repertoire, which shall

include reductions for

cultural bodies without

gainful purpose.

c) to enter into

general contracts with

associations of users

of its repertoire

whenever such

associations request

and are

representative of the

sector.

2. While the parties

do not reach an

agreement, the

authorization shall be

deemed granted if the

applicant pays subject

or legally entered the

amount demanded by

the management

entity according to the

general tariffs.

3. The provisions of the

preceding paragraphs

shall not apply to the

management of rights

relating to literary,

dramatic, dramatic-

musical, choreographic

or pantomime works, or

concerning the singular

use of one or more

works of any kind

required separate

authorization from the

owner.

4. In addition, the

management entities

are obliged to enforce

the rights to equitable

remuneration

corresponding to

different assumptions

under this Act and to

exercise the right to

authorize cable

distribution.

New workshop Igor Obeso.

www.amigosmava.org

SPECIAL INTEREST:

Part of the month

Evaristo Bellotti

Medieval glass in Málaga

4th Exhibition of Buenos Aires

Activities on the MAVA

News

Our activities

Glass recycling

How does

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Evaristo Bellotti 5

Medieval glass in Málaga 6

Exhibition of Buenos Aires 7

Activities in Museums 8

Activities in the MAVA 11

Concert MAVA 12

Roman glass in Museums 13

Guitar Series I 14

Biennial of Glass in UK 15

Museum in L'Ollería 16

Cristal no, glass yes 17

News 18

Culture 2014 18

Concert at the MAVA 19

Ripollés in the Riviera 19

The glass museum 20

Ampoule essences 21

Belgian Glass Biennale 22

Viloria visit Vicrila 23

Glass recicled 24

Olaffur Eliasson 25

Cultural tours 26

Culture 2014 Programme 26

Magical Art Glazier 27

Other trends 28

Polish Museum 29

Jika Kolbe in Madrid 30

Robert Micklesen 31

Award Cerviglás 32

Congress on PC 33

How does 34

Head Olmeca 35

Laminated glass Invention 36

Science Week, Jaén 37

Dome of the Reichstag 38

Saint Gobain Glass creates 39

Corning Announces Gorilla 40

The Tower Bridge 41

Directorate 42

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

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

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

The next day, December

12, excellent glassblower

and friend, Igor Obeso, will

inaugurate its new facilities

in the Industrial Estate

Sales in Irun.

It also has a new website,

Argia Badago, with modern

design in which you can

navigate very easily and get

a lot of custom work, both

artistic and technical.

We hope and wish that still

has much more successful

in their management and

good work in their new

facility, which, as we may,

we will not see, as we did in

its previous location.

17-01-13. Requesting inventory of parts that make up the per-

manent collection of MAVA.

11-06-13. Chance of receipt by the MAVA documentation on

glass offered by the President of the Spanish Association of

Science.

11-11-13. Requesting information on the agreement with the

Madrid social services to install the MAVA.

Writings unanswered by the Department.Writings unanswered by the Department.Writings unanswered by the Department.

Page 3

Miloslava Nieveldová

graduated in 1976 at the

Faculty of Education at

the Charles University in

Prague, after attending

the School of Applied Arts

in this city.

It began as a painter and

graphic designer, initially,

within a fairly traditional

aesthetics.

However, from the mid-

80s, there was a fracture

in orientation, thereafter

leaning toward

postmodernism under the

influence of Czech art

group The Stubborn.

As a painter declares that

tries to fill the white

surface of the canvas

using colors to create

harmony.

In the early 90s, looking

for the third dimension in

his works, Miloslava

Nieveldová is glass.

It is introduced in this

world without technical

knowledge than glass

requires, but from the

beginning obtained

excellent results carried

away by his intuition and

working on his own.

Following the principles

of the Czech School,

whose middle generation

is integrated choose to

perform his works with

glass casting mold.

This technique has the

property of resulting

works bodied, fully

sculptural.

Within the abstract and

symbolic universe works

Miloslava Nieveldová, the

surfaces are worked with

natural forms and

references of great

beauty, mixed with

organic elements such as

gastropods or legs that

support the piece.

A single color pervades

the work.

It is the light that

produces changes and

tonal variations to pass

more or less dense

surfaces, discovering his

living passage contrasts

and textures.

"Laid" was one of the

works with which

Miloslava Nievaldová

participated with Eva

Vlckova, Lenka

Cermáková, Anna

Matoušková, Dana

Zámečníková, Jirina

Zertová and Dana

Vachtová in the exhibition

Sensitive Touch (MAVA

2002) sponsored by The

Studio Glass Gallery

London.

www.amigosmava.org

Part of de month. Miloslava Nieveldová.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 4

She also has her own shop, Nounou, in the district of central Helsinki, Punavuori, but lives in Nuutajärvi, a town located 150 kilometers (93 miles) northwest of the capital and known for its factories and glass artists.

"I like the process of glassblowing," she says.

"It is immediate, and you have to make quick decisions. I like how the hot glass behaves, has its own personality. However, it is not easy at all material and that is why it keeps me interested."

The most important design element today is the color.

For nearly a decade, using only black and white. Then he began to incorporate more color.

"It's really hard," he says. "But at the same time, it is interesting to get to combinations that work well with patterns that I use is never just one or the other -. Is the color model".

"Today, it is increasingly common for glass artists do their own work," says Penttinen.

"In the old days, none of glass artists in Finland really knew how to blow glass. And, again, there are many industrial glass designers today who know not how to use glass".

or its origin but by its

colors, design and a first

impression. When I

rediscovered also

rediscovered had been

a hunch.

I used these figures to

create a series of

objects that illustrate the

associated emotions

that I have for each

individual figure. The

series is also an

exploration of childhood

fears, ambitions and

insecurities ".

www.amigosmava.org

Anu Penttinen knows his glass, as it is their medium of choice as an artist and she has a studio at the Nuutajärvi Glass Village.

He graduated from the University of Art and Design Helsinki, and his art reflects his interest in the phenomena and details of the urban environment.

Maps, city streets and transport -the move from one place to another and from one location to another-has always been fascinated: "How I filter my visual world of concrete places and human activity, which may

end up as abstracts for my pieces of glass. "

His preference is for strong colors and clarity of form.

It is one of the most unique and most successful Finnish glass artists.

Live in a quaint little town, but she finds inspiration in street maps, artificial environments, landscapes and urban details, not the usual ingredients of Finnish glass design.

Penttinen has exhibited his art in striking glass worldwide, including the US, Japan, Germany, Italy, New Zealand, Britain and Australia.

Established artists. Anu Penttinen.

Young artists. Karen Nyholm.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Our web

Our web

In much of the work of

Karen Nyholm was

worried about the

combination of glass with

different materials to

accentuate the inherent

qualities of the glass.

"One day, while cleaning

in the basement, found

some porcelain figurines.

They were figures who

had collected as a child. I

had selected each

carefully.

Not in relation to how it

was made, nor its price

Page 5

www.amigosmava.org

Evaristo Bellotti in the MAVA.

The MAVA inaugurated on the 10th of this month of November, the exhibition 'fractions' of the sculptor, painter, draftsman and writer Andalusian Evaristo Bellotti, which presents objects of different materials at different times: whole, broken or even reduced to a lots of dust.

The show aims to bring the viewer a direct experience of the shape of objects, not only glass but also of paper, plastic, egg shells, ceramic or cardboard.

A glass bottle found on the beach serves paradigmatic object of this experience.

The object, says the artist, appears with a clear and distinct when it preserves its integrity.

When it breaks, its original form survives or disappears completely broken parts, according to the degree of disintegration of the fragments.

The same glass bottle, whole, in pieces or

reduced to powder, expresses three moments of their identity.

But there is a fourth possibility, that is the 'Fractions' experience try Bellotti.

"When the restorer reconstructs broken bottle glass and repositions each part into place, looking back to its original shape. If successful, it may be said that restoring the bottle has recovered, largely, if not entirely, its true way. not so in Fractions ".

Thus, the Andalusian sculptor proceeds in an alternative way, reclassifying first and then manipulating the pieces of glass bottle with other criteria.

Thus, when the artist otherwise proceeds to reconstruct the remaining parts of the original bottle, the form that emerges is not duplicated in the same way, but the report.

This new form, new, is one among many possible, radically different from the original and of itself.

the artist

Born in Algeciras in 1955, Bellotti moved to Madrid to complete his training.

From the 80, emerged among the most outstanding sculptors of the time.

His work from classical antiquity through the use of the fragment and motifs inspired by mythology and Mediterranean essence.

Enrolled in Post-Modernity, has endeavored to renew the languages of sculpture.

His work has toured many cities in Spain, Europe and North America.

This exhibition was visited in the Technological Museum Farm in October 2013 and last year we published an article about it in our Bulletin of November of that year, with a large photo report.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

The City of Malaga, the Malaga Foundation, the University of Nottingham and the Museum of Glass collaborating on a project of scientific interest that analyzes the production in Málaga glass and ceramics glazed medieval times.

Málaga, as noted historian al-Maqqari, was one of the main centers of production of glassware in Caliphate and Taifa kingdoms during the Nasrid era and became a benchmark in the production of Mediterranean blue tiles luxury and golden.

This made Málaga in the natural order of the next step in the research already undertaken by the 'The al-Andalus Glass Project' in the city of Córdoba, as reported in the presentation.

Section of Archaeology of the Municipal Planning Department acts as depository institution of heritage items on the study and its contextual information is developed; while Málaga Foundation acts as funding and institution responsible for distributing the study and its results among the lay public.

Meanwhile, the Museum of Glass and Malaga is the advisory institution specializing in the subject about which deals with the study and "The al-Andalus Glass Project" is the researcher and institution dealing disseminating the study and results in specialist.

The terms of collaboration have been aimed at verifying the chemical analysis of archaeological material, particularly glass and glazed ceramics Medieval, excavated in Málaga, with the overall aim of increasing knowledge about these archaeological materials and their importance in economic life city and study ways of reproduction and transmission technology and contacts between

Page 6

Glass and ceramic medieval in Málaga.

condition and with reliable material from the archaeological point of view, to which they have contributed interventions carried out by the teams and companies that have made Malaga studies archeology.

In this phase of the project has taken 19 samples of glass dating from the tenth to fourteenth centuries.

These samples were analyzed by microprobe. The results indicate that these glasses were produced by using several different recipes, some characteristics of the medieval period and others that appear to be of Roman origin. Some of the samples had an intermediate composition, suggesting that for manufacturing recycled glass with Roman Islamic glass were used.

These results suggest that the Malaga craftsmen made their own glass, with oriental recipes but with raw materials (sand and plant ash) of local origin.

Some of Malaga's oldest glasses analyzed (X-XI centuries) also have a slightly different composition, possessing an intermediate chemical signature between own compositions Roman and Islamic times.

Recycling practices would widespread glass: glass old Roman would be mixed with new date Islamic produced, resulting in an intermediate composition.

The project objectives are medium-term to extend the number of samples analyzed and connecting the results with the general picture of the Mediterranean, especially in North Africa; and develop the implications of technological transmission between al-Andalus and neighboring regions in the Middle Ages.

Muslim and Christian territories.

'The al-Andalus Glass Project' is a multidisciplinary research project to date, involving researchers from the Universities of Nottingham and Leicester (UK) and the University of Cordoba in Spain.

For this, the project has already conducted two rounds of analysis of archaeological material from the date Andalusian cities of Córdoba and Málaga, whose results are being integrated into the overall picture of glassmaking in the Mediterranean in the First Millennium AD.

According to the agreement, Section of Archaeology at GMU has made a search on your database and proceeded to the review of reports for selected samples of the greater reliability and stratigraphic isolation.

We have chosen a sample with chronological criteria interest, since it includes all production from emirales time periods and throughout the centuries Andalusian domain, including moments of contact with the Christian population after the conquest, in order to assess the technical changes and if possible verify their origin.

Málaga offers ideal conditions for studying this material for a number of technical and administrative issues.

From the technical point of view, seems to be a city with a notable presence of the glass industry and, above all, of glazed ceramics, and is in fact the place of origin of a type known as Golden Pottery productions that Malagueña became very popular throughout Europe in the late Middle Ages.

It was possible to recover production workshops in good

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 7

Objects with Glass blog.

On Thursday November 13, 2014 the 4th National and International Exhibition of Glass City of Buenos Aires was inaugurated.

The jury was composed of: Liliana Waisman - Miguel Diez - Edgardo De Bortoli - Claudio Dagna - Damian Abramowitz.

With over 50 participants, the winners were:

Honor Award Veahcolor: Ma.Eugenia Alvarez Herrero.

Winners Category A (Stained

Glass - Mosaic - Tiffany)

Veahcolor 1st Prize: Lucia Selser

2nd Prize Gala: Gabriela Franco

Veahcolor 3rd Prize: Elisa Demaestri

mentions

A Technique (Stained Glass): Sofia Villamarin

A Technique (Mosaic): Norma Panighetti

Categories works B (Works Merger)

Veahcolor 1st Prize: Natalia

Gerscovich

Cortabotellas 2nd Prize: Carlos Riva

Veahcolor 3rd Prize: Eduardo Lavorato

mentions:

A Technique: Lorena Riga

A Creativity: Rubén Pire

Design: Lidia Godfrid

mentions:

Graciela Nadur - María de los Santos - Monica Sampedro

www.amigosmava.org

4th Exhibition of Glass in Buenos Aires.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 8

www.amigosmava.org

Activities in Museums I.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 9

www.amigosmava.org

Activities in Museums II.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 10

www.amigosmava.org

Activities in Museums III.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 11

www.amigosmava.org

Activities on the MAVA. XIV Science Week.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

During these four days, nearly 1,400 people have participated in all activities have attended exhibitions blown glass and glass torch, guided tours and a screening of the film "Giant Crystals".

Partners and sponsors of this activity have been Pobel, SL, ECOVIDRIO and the Complutense University of Madrid.

passed through these facilities 1,015 students from 17 primary schools and secondary schools in various localities of the Community of Madrid, with a specific program for elementary students and other different for high school.

To these must be added the participants in the workshops for families.

Some 1,400 people have passed through the facilities of the Glass Art Museum of Alcorcon (MAVA), on the Castillos de San José de Valdez, on the occasion of the celebration of the Fourteenth Science Week of the Community of Madrid, between students and adults.

From Tuesday, November 11, until Friday 15, have

Page 12

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Concert MAVA.

performers, the

description of the

circumstances

surrounding Mozart in

composition and

characteristics of the

Quintet, as we usually do,

this time we begin a

journey through the

history of the classical

music, which will go

reeling through

successive chapters in

the upcoming concert.

Thank you very special

group 100 Notes

participating in our

"Concert MAVA" and

Miguel Angel Colmenero

Foundation for its support

program for us to do this

contribution to musical

culture possible.

consists of four

movements: Allegro,

Larghetto, Minuet and

Finale (Allegretto).

His execution was superb

and the audience who

attended this concert

rewarded them with well-

deserved applause.

As in all our educational

concerts at the end of her

performance we had an

interesting discussion

between the audience

and the artists and so we

learned, among other

things, that his name was

suggested to them by a

chain of catering

establishments.

In this concert, in addition

to reporting the

curriculum of its

On November 28,

enjoyed a new concert in

the Auditorium of MAVA.

This time it was played by

the group 100 Notes,

which consists of five

students from Madrid

Royal Conservatory.

Its members are:

Jaime González, clarinet,

Abel Cruz Lezama, violin

I,

Gonzalo de la Lastra,

violin II,

Marta Gómez, viola, and

Nathan Giorgetti, I cello.

They performed "Quintet

for clarinet and strings in

A major" by Mozart.

This complex work

Page 13

www.amigosmava.org

The Roman glass in museums in Madrid (I).

collective unconscious

different aspects to consider

using the new material.

Quickly articles for the

personal use extend,

tableware and storage etc.

It is noteworthy that the

normalization of the matter in

everyday life to this day.

From the Roman period are

still using the technique of

glass blowing.

During the Middle Ages its

composition is characterized

by the widespread

substitution of sodium for

potassium, being the poorest

typological and decorative

repertoire, especially with

regard to domestic use,

without abandoning interest

most important pieces, in

some cases, reflect the

luxury through imitation as

happened with pasta glass

embedded in Visigothic

votive crowns, or used as

means for transmitting a

religious or philosophical

thought: God is light, light

that penetrate through the

Gothic windows.

the craftsman who makes

the socio-economic and

cultural context in which they

appear and their relationship

with other manifestations

craft or artistic.

The Roman glass will be of

great importance for the

revolution that led to the

blowing technique, as

already stated professor at

the Autonomous University

of Madrid Ángel Fuentes,

through which prices

became cheaper and was

carried out faster .

But I think that the most

important was the addition to

the daily life of a type of art

to which the vast majority of

the population was not used,

because its use was

restricted to a minority; the

glass has become popular

perception of a new material

which is introduced in

everyday use by extending

to a larger population

concepts and fragility,

transparency, translucency,

light effects, and others

relating to the desirability

use; ie introduced into the

Eduardo Alonso Cereza.

This study titled "The Roman

Glass Museum in Madrid",

tries to give an overview of

the pieces of Roman glass

found in the Community.

The research was carried out

in different museums of the

capital: Archaeological

Museum, Museo Cerralbo,

Museo Lázaro Galdiano,

Cabinet of Antiquities of the

Real Academia de la

Historia, Museo San Isidro,

Sorolla Museum and

Museum of Decorative Arts.

The number of parts is vast,

rich and varied,

predominantly ointment and

glasses belonging to

tableware or storage, and to

a lesser extent those most

sophisticated and luxurious,

as are those in mosaic glass

or carved, and those devoted

to personal adornment.

In general they are very

functional, but this quality

does not diminish their

importance when analyzing

them and to draw therefrom

important information about

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 14

In last November the last three concerts I Cycle Classical Guitar "Castle Valderas" took place in the Auditorium of MAVA.

The 7th participated guitarists Amandine Savary and Fernando Alonso.

Amandine performed "Prelude and Fugue" by JS Bach, the first movement of the Sonata AJ Martinez and "November Day" by Leo Brouwer.

Fernando Alonso played "Meulan" by N. Coste, the first movement of the Sonata of Fernando Sor and various movements of "Suite Compostelana" of F. Mompou.

On 14 scholarship students participated in the Second International Guitar Course Ex Corde held in the town of Molina de Aragón of 6 to 13 last July.

The GUITART duo formed by Sandra Diaz and Daniel Barrios Medina Molero, performed "Drei Märchenbilder aus der Oper" Pollicino "by Hans Werner Henze.

Sandra Diaz Barrios, meanwhile, performed "Studio" op. 60 # 7 of Matteo Carcassi and Allegro (Partita XV) Giuseppe Antonio Brescianello.

Daniel Medina Molero interpreted Study No. VI of Leo Brouwer and "Teardrop" by Francisco Tarrega.

Carter played Marta Viloria Study op. 60 No. 25 Fernando Sor, Histoire vraie # 2 of Jeannine Richer, Prelude No. 1 by Manuel M. Ponce and Study No. XIV of Leo Brouwer.

Laura Salazar Ramirez played Appunti op. 210 No. III of Mario Castelnuovo-Tedesco and Marieta (Mazurka) by Francisco Tarrega.

Villoslada Marta Duran played Prelude op 46 # 1 of Emilia Giuliani, Study No. 25 Dionisio Aguado and Prelude No. 3 of Heitor Villa-Lobos.

The Soul-Tasto duo formed by Celia Exposito Otero and Laura Salazar Ramirez played "Morenita do Brazil" by Giuseppe Farrauto, "My Lord Chamberlain, His

Galliard" by John Dowland and "Take two" of Reinhard Kaisers.

On 21 intervened Guitar Ensemble Conservatory of Music "Teresa Berganza" which began operating with individual performances by Tony Munoz, Almudena Cano, José Emilio Navarro, Rocío Cruz, Lucia Ruz, Elena de Blas, Mario Deleyto, Alberto Lara and Nikita Dorokhin, concluding with the implementation by all Guitar Ensemble, works "Joropo" by A. Forrest and "The bare necesities" T. Gilkyson, arranged by Ana Januarius, Professor of set and consists of Ziro Sánchez, Ciro Fernández, Jara Torres, Alba Arcos, Lucia Ruz, Elena de Blas, Nikita Dorokhin, Tony Muñoz, Mario Deleyto, Rocío Cruz, Almudena Cano, Alberto Lara, J.Emilio Navarro and the Ana Jenaro own.

The Cycle of Classical Guitar has been a success, both for interpretation and public who have expressed to us their joy at being able to enjoy these great performances.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

I Cycle Guitar "Castle Valderas".

Page 15

www.amigosmava.org

As published in our

newsletter last September

and on our Facebook page

last day November 9, we visit

in the month of May next

Biennale of Glass to be held

in the British town of

Stourbridge 25 year to May

30, 2015.

Each British Glass Biennale

is an exhibition of

contemporary glass artists

who work and live in the UK

and working the glass.

Since the opening of the

exhibition in 2004 nearly 500

glass works have been

exhibited by the British Glass

Biennale thousands of

visitors.

The artists present work for

the selection you have made

in the past two years and are

available for purchase.

The authors of the works

have to be living and working

in the UK for the past two

years, ie, showing the

commitment to be based in

Britain.

Each jury is composed of five

members selected from a

range of specialists.

Each British Glass Biennale

has a new jury.

Jurors see all pictures

anonymously, to judge each

piece on its own merit.

The goal is to give each

artist participating the same

opportunity to have a

selected job and create the

same rules for all artists.

The Biennial is not intended

to establish a historical study

but to take the pulse of the

scene of the British glass

today; to observe and reflect

on emerging trends and

influences every year.

It also aims to put the UK

artists on an international

platform and to value what is

being achieved in this

country with glass.

The Ruskin Glass Centre is

located in the historic

neighborhood of

Stourbridge, located in the

industrial heart of the West

Midlands; on the site of the

former glassworks Webb

Corbett / Royal Doulton.

It is also where the exhibition

of the Biennale of Glass and

the International Festival is

hosted.

The Ruskin Glass Centre Ltd

is a subsidiary of the Ruskin

Mill Educational Trust, a

charity pioneered specialized

for young people with

learning difficulties education.

The Foundation promotes

culture, arts and special

education in the context of

social regeneration and is

inspired by the ideas of John

Ruskin, William Morris and

Rudolf Steiner.

Our journey of five days will

be held in Madrid Ryanair

flight to London, to travel by

train to the city of

Birmingham, where we stay

at one of the hotels in the Ibis

chain is in this city.

Every day we will travel by

train from Birmingham to

Stourbridge and return half

an hour.

The budget for our trip will be

around 400 € 130 € for

flights, € 80 for travel by

train, € 170 for

accommodation with

breakfast and € 20 for tickets

to the Festival.

Biennial of Glass in UK.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 16

The Glass Museum in L'Ollería.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

We borrow, given the

interest of its content, an

article of Jesus Redondo

Martínez including on his

Facebook page. The text is

as follows:

"Readme PLEASE

More activities in the House

Santonja not related to the

use that was initially

promised the people of

L'Olleria.

In the 90s the Palace of the

Marau, House Santonja, was

purchased in order to create

there the glass museum of

the Valencian community.

Many years later and with a

huge investment in various

actions, still empty even

being announced as a

museum in all tourist routes.

The various local authorities

who have gone over the

years, promised to finish the

museum supplementing it

with a permanent exhibition

of ancient glass, tools,

materials etc, etc ...

Possibly not run the best

times to spend money on

other things than social

issues such as food do not

miss anyone's plate, but we

have to take into account

that part of the history of

glass is ending in L'Olleria

chatarreros without anyone

doing anything about it.

Do not want to blame

anyone or point the finger, or

despise any achievement as

the extension of the

University.

Personally I think both can

coexist in the same location,

but as a master craftsman,

president of the Association

of Friends of Glass Route

and treasurer of Aviva

association glassmakers of

the Valencian community, I

must protest have bypassed

the product Local and prevail

other matters that have

nothing to do with the original

commitment we so desire

and what we have waited so

long.

Lest anyone think I want to

politicize the issue, I mean if

it's true that we worked on

related to the glass activities,

which have not been

implemented for lack of

funds, that does not mean

they have fallen on deaf ears

but such once policymakers

need a little pressure from

the residents of L'Olleria.

If you agree with me please

share this state to revive the

dream of the long-awaited

Museum of Glass House

Valencia Palau dels Santonja

Macau ".

For our part, only wish the

Glass Museum project

comes to fruition in the

shortest time possible. The

memory of glassmaking in

L'Ollería deserves it.

Page 17

www.amigosmava.org

Cristal no, glass yes.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

The term "crystal" is used

quite often as

synonymous with glass,

but he is wrong in

science because the

glass is an amorphous

solid (its molecules are

arranged irregularly) and

not a crystalline solid.

If the stability of its form

glasses could be

assimilated to solid, from

the point of view of their

structural disorder

similarities with fluids are

much more pronounced.

This fact constitutes a

limitation to include

glasses between solids,

is nevertheless

insufficient to authorize

accept as liquids,

although can justify the

designation of infinite

viscosity liquids which

often has been applied.

Well, even though it has

already been said many

times that the glass has

nothing to do with the

glass, we are still seeing

on the information

provided by the highest

levels of our cultural

landscape cataloging as

"crystal" items which are

glass.

Thus, in our visit to the

exhibition of Luciano

Fabro in the Palacio de

Velázquez del Retiro,

under the Reina Sofia

Museum, we saw how,

on several occasions,

and referring to the

materials that are created

some of the works,

reported that they are

"crystal" when it is

obvious that they are

made of glass.

Indeed, in the press

release included on the

website of the Museum,

where it is reported the

opening of this exhibition,

indicated "... and includes

some of his early work in

crystal, mirror or

fabric ...".

We believe that given the

category that holds the

Reina Sofia Museum in

the global art scene

should be more careful to

include information about

the works exhibited, and

should not collaborate in

expanding the undoubted

confusion in our country

about the nature of glass

and crystal.

Page 18

N E W S (I).

Culture 2014.

Fire in the glass factory of La Granja.

www.amigosmava.org

The Italian artist (Turin Milan 1936- 2007), one of the main creators of arte povera, arrives at the Palacio de Velázquez in the first exhibition of his work is done without their direct involvement.

This anthology, composed mainly of sculptures and installations, gathers around 60 works in marble, silk, mirrors, glass, bronze, brass, reindeer hair, pasta, acetate, ... and takes us through his more than forty years creation.

The birth of an artist Luciano Fabro occurs in Milan in the first half of the sixties, a little before I saw the light Italian Arte Povera movement.

In 1967, precisely in an exhibition called so, "povera" exposes Fabro Paolini, Kounellis and Pino Pascali.

Overall, still according to the critical Celant, their common cause is a stripped art images and objects, rhetoric and symbolism.

In addition, leans to maintain an empirical relationship with reality, based on a commitment of all the senses, with emphasis on craftsmanship and the use of ordinary materials. We have been in the Palacio

de Velázquez, located in Madrid's Retiro, visiting the

exhibition of works by Luciano Fabro.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

The stated in the glass factory fire SGD La Granja has originated in one of the ovens available to his property and that has affected part of the roof.

The fire started about 16.40 pm last day 2 without more data have been provided on the extent of damage from the flames, which are controlled through the work of six firefighters Park Segovia helped with two fire according to the information of the body and central government representatives gathered by Europa Press.

Page 19

N E W S (II).

Concerts in the MAVA.

www.amigosmava.org

Ripollés in the Riviera.

program to full

occupation of their

capacity.

With this concert we said

goodbye 2014 which will

have made nine concerts,

the Piano Cycle I,

composed of six

concerts, and I Cycle

Classical Guitar

The next day December

19 performance of child

choir soprano Marta del

Barrio is planned.

The concert will be held,

like all the "Concerts in

the MAVA" of our

Association in the

Museum Auditorium at 19

pm and entry is free

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

composed of five

concerts.

We believe it is an

excellent contribution to

musical culture to our

town and we thank

Miguel Angel Colmenero

Foundation support for

the realization of our

program.

works from different

artistic disciplines.

In this large sample

Ripollés presented in

Cannes five large

sculptures of fiberglass

coated glass bead,

located outside the Grand

Hotel in Cannes.

Along with an exhibition at

the Terre des Arts Gallery,

which displays paintings,

prints and sculptures. CANNES.- art Ripollés

has returned to France for

the inauguration of a

complete exhibition of

Page 20

The glass in Museums: Casa Lis.

The glass we see in

Europe in decades

preceding repeated shapes

and decorations Venetian

models or Bohemia with a

growing interest in the use

of color. Authors such as

Émile Gallé, formed in

areas in which the

repetition of models was

the general trend,

managed to revolutionize

with his genius and

creativity decorative art

glass. To do this, Gallé

opened a path of research

and recovery techniques

sometimes forgotten that

led to one of the most

fruitful periods in the

history of glass. Émile

Gallé, promoter and

ideologue of the School of

Nancy, is a key figure in

the development of Art

Nouveau.

The popularity reached its

creations, thanks to its

artistic talent and his

successful business

acumen, raised the status

of the glass piece to the

category of artistic work:

Gallé caused a real

transformation to apply to

your designs the language

of his time in an original

way. Using glass as a

painter, handles pigments

and manages to give an

unprecedented expressive

production capacity. The

commercial success of

Gallé glasses made his

style was quickly copied

inside and outside France.

Firms like D'Argental or

Daum brothers used the

same techniques and

similar models made

famous production. The

Loetz glass, iridescent look

with shades of metallic

reflections were popular

around 1900 and reflected

great skill in technique and

design. Other holiday as

Kralik or Pallme-König

used this decorative effect

in inkwells or vases.

René Lalique is a

prominent figure in the

history of glass Art Deco.

Unlike the works of Gallé,

where nature is as we

perceive it, Lalique takes in

his work an exercise in

abstraction taking an

element styling and

systematically repeated. In

the 20s and 30s, the

opalescent effect obtained

by adding arsenic to the

vitreous mass was a very

common decorative appeal.

Although, the most famous

author in these pieces of

milky appearance was

Lalique, Marius Ernest

Sabino also exploited the

decorative possibilities of

this technique in many

shapes. The collection of

glasses Museum Art

Nouveau and Art Deco

consists of over 200 pieces

signed by the most

representative authors of

the time. Vases, perfume

bottles, sculptures, lamps

or table games are some of

the wonders that visitors

can admire the Casa Lis.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Our web

Page 21

Glass ampoule essences.

www.amigosmava.org

Part of the month that

was chosen by the

Patronato de la Alhambra

in November, is a glass

ampoule which was used

for essences in Granada

Nazari.

Through this blister, you

can know the importance

Hispano culture reached

in the use of perfumes,

ointments or oils.

Today as then, a huge

variety of aromas flooded

public, religious or private

spaces.

The perfumes were used

as today, both by women

as by men of any social

status.

Are very similar to those

Hispano essences such

as ginger, cinnamon,

scented woods or Indian

sandalwood today.

Lemon, violet, rose and

amber scents were most

commonly used.

Depended on the

season, the occasion and

even the mood.

So important was the

perfume, which is

included in the treaties of

hygiene, food and

medicine.

In the Qur'an even the

passion that Muhammad

had to perfumes is clear.

The theme is repeated

many times.

Promise to the faithful of

"a perfumed paradise with

large rivers, trees and

gardens and beautiful

houris of black eyes,

made of pure musk"

appears.

That desire to discover

new scents and enjoy is

what will lead to a tireless

search for the most

remote places and

countries.

A 'spice route ", from East

to West was created for it;

specifically the

Mediterranean.

Because of the

importance that reached

perfumes, arose special

containers to contain

them.

Perfumers, esencieros or

blisters that were made in

glass.

Even was so precious,

that the container was

more or less elaborate

depending on the person.

They could even go

carved figurations

vegetable or inlaid

geometric motifs.

All details about the glass,

and socio-cultural aspects

of Nazari Granada

surrounding aspects were

exposed Morillas

Montserrat Moreno at the

conference of the Piece of

the Month.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 22

Glass Biennale in Belgium.

Objects with Glass blog.

International Glass Art Biennale 2014 (IGB)

The next December 5 the second edition of the International Glass Art Biennale 2014 (IGB) in Belgium was inaugurated.

This is an exhibition that brings together artists from different countries facilitating contact between them and the public and serves as a platform for exchange between artists, galleries, museums, collectors and people passionate about art glass.

A second edition of this event 43 works by various artists of contemporary glass in all aspects, which makes it more attractive will be presented individually.

Argentina participates representing the artist Dina Priess Dos Santos

Van der Speeten Maurice (President. "In some jobs, surprised by the results of the use of new types as borosilicate glass, dichroic glass iridescent glass or intense colors In other works, artists achieve innovative results, adding a touch of traditional glass .

Glass is rich in metaphorical potential, can be transparent, opaque, flashy or unfathomable; can be molded, cast, cut and polished, or fractured, the same term used to describe people and their personalities.

The glass also embodies the paradoxical combination of fragility and hardness makes it a fitting metaphor for the complexity of the bodies, structures, society, or even the fleeting nature of life itself.

With established and emerging artists, the International Glass Art Biennal 2014 helps us understanding and appreciation of contemporary glass art by accessing learn important artistic innovations.

This exhibition provides a forum for the creation of new works, will mark an important step in the development of contemporary glass manufacturing "milestone.

Facts:

International Glass Art Biennale 2014 (IGB)

http://www.artksp.be/glassart.html

From 5 to December 14, 2014

Mercatorlaan 25 - B - 3150 Haacht - Belgium

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 23

José Luis Viloria visit Vicrila.

In 1966 he directed the

film 'Forges de Cristal',

shot in Stained Glass and

glassware Lamiaco

(current VICRILA) and

other Group companies

Glassware Spanish.

Lasting 28 minutes, this

film won first prize in the

National Industrial Film

Contest.

A year later, he directed

the documentary NO-DO

'Forges Glass' repeating

the same locations.

Under the locution Matias

Prats father, for about 11

minutes explains the

discovery and creation of

glass.

Born in Zamora, Jose

Luis Viloria belongs to a

generation of young

directors, forged in the

Official Film School

(Madrid).

This school counted

among its professors

professionals like Carlos

Fernández-Cuenca,

Carlos Serrano de Osma,

Florentino Soria, Enrique

Alarcón or Luis García

Berlanga.

Throughout his career, he

has received numerous

awards for his work,

which include the Golden

Spike (Valladolid, 1961),

by 'Zamora, land summit',

the First National Prize of

Industrial Cinema

(Valencia, 1966 ) for

'Living a dream', the

National Award for

Industrial Film (Valencia,

1966), by 'Forges de

cristal', and the Second

National Industrial Film

Award (Málaga, 1968), by

'Firestone Hispania 67'.

Since the foundation want

to show their sincere

thanks to a filmmaker who

knew faithfully capture the

industrial reality of an era

and certainly part of the

story VICRILA.

To see 'Forges de Cristal':

https://www.youtube.com/

watch?v=_tDkiOEgOis

To View Forges Glass':

https://www.youtube.com/

watch?v=72uJnkpzU6A

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 24

Recycling. Recycled glass bricks.

An international

consortium with extensive

Spanish participation

proof "successfully" LIFE

ClayGlass the European

project, which involves

replacing part of clay

recycled glass as a

fluxing agent in the

manufacture of ceramic

bricks, as reported by the

project managers.

Currently, the initiative is

being tested at laboratory

tests for subsequent

industrial scale.

Specifically, the proposed

LIFE ClayGlass replaced

the clay used for

manufacturing ceramic

brick for glass recycling

as flux.

If the feasibility is

confirmed it be possible

to reduce the cooking

temperature because

begins to melt at lower

temperatures, achieving

energy savings of

between 10 and 15%.

This CO2 emissions

greenhouse also reduce

(around 2,000 tonnes per

year in a medium-sized

factory).

Also reduce the

exploitation of virgin raw

materials such as clay

and give output is a type

of recycled glass as a

medium-sized factory

could use 30 tons per

day of this residue.

LIFE ClayGlass is funded

by the European

Commission and

composed Aitemin

(Association for Research

and Industrial

Development of Natural

Resources) as lead

partner of the consortium

for Ceramics Mora,

Restart Association,

Aristotle University of

Thessaloniki (Greece)

and Reciclajes Pozo

Cañada.

It is one of 59 Spanish

projects approved in 2012

call, in the category of

Environmental Policy and

Governance.

The total aid by the

European Commission

LIFE projects in this call,

in all categories, has been

of 276.71 million euros.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 25

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

From 21 November 2014 to 15

February 2015, the Kunsthalle

Mannheim exhibits "Your trust," a

selection of recent work by Danish-

Icelandic artist Olafur Eliasson, one of

the most important international

contemporary artists.

Facilities focus on the experience of

space: explores ways of human

perception and our spatial experience

of light, color and movement.

His body of work includes installations

and sculpture as well as photography

and cinema.

Eliasson is known for his sculptures

and large-scale installations in

employing elemental materials such as

light, water and air temperature to

enhance the perceptual experience of

the viewer.

Exposing the artifice of illusion,

Eliasson points to the relationship

between reality, perception and

representation.

The exhibition highlights, once again,

the fundamental role that the viewer at

all jobs created by Eliasson, are

installations, sculptures, photographs

and architectural projects, because it

is only through the reception, the

concepts are fully effective .

It is the encounter between the viewer

and his works, and how works propel

the viewer involved and engaged

critically.

The centerpieces of "Your Trust" are

five new glass sculptures that are

activated by the visitor.

Your confidence titled, Your instinct,

Your intuition, Your compassion and

Your optimism, they function as a

small "machines of perception."

The effect depends not only light, but

also the position and movement of the

viewer.

The installation consists of six

glasses, lined up one behind the other

in a metal frame.

Each disc is of a different color and

each has a hole going from a narrow

oval to a circle.

Looking at these layers of color,

shapes and reflections, we realize

how much our perception is influenced

by space and materials.

The visitor is able to see this play in

changing from many angles and

perspectives.

It is the first time these five sculptures

are exhibited in a museum.

They are complemented by a series of

five watercolors, a book of great

format made of glass (A View

Becomes a Window, 2013) and a

floater (Navigation star, 2011).

The works in the exhibition are

displayed in two rooms of Jugendstil

building of the Kunsthalle Mannheim,

whose roundabout was installed last

year Starbrick, a work of Olafur

Elliason which was acquired by the

museum, and along with "Big Fish"

Brancusi form the artistic heart of the

museum.

So the exhibition "Your trust" is an

extension, in terms of content and

form, of Starbrick an installation that

consists of 35 modules with star light,

organized into a structure that

resembles a honeycomb and hanging

roof.

With Starbrick, Eliasson makes

fundamental questions: "how light

defines the space, how it affects the

way we perceive the world ... The light

open undefined spaces and challenges

us to define our perception again. It

has a special expressiveness;

transience evokes personal feelings

and stories that often develop in a

social context. "

The complex optical phenomena Olafur

Eliasson creates, are made with such

simple devices such as light, mirrors,

light bulbs, among others.

The simplicity and the experimental

nature of their work, Eliasson has built

him a reputation as one of the most

interesting and accessible

contemporary artists.

Its facilities produce such

overwhelming effect that sometimes

seems to leave us spellbound.

As often happens with his works,

human experience emerges as both a

deeply individual, unique, intimate and

human, as universal process.

Olaffur Eliasson exhibited in Germany.

Page 26

visit the Archaeological

Museum to see the accounts

of pre-Roman glass that is

exposed there.

This island was visited by the

Phoenicians in their travels

throughout the Mediterranean

basin and conducted trade in

their scales.

Also visit the Christmas

Market Craft Ibiza to try to

locate a stand where

handicrafts made of glass is

offered.

was nearing thirty, had

proved their worth in

Zaragoza and traveled, as

they should, to Italy-.

Also corresponds to the

time of its consolidation as

a painter at the court of

Charles III and IV.

Traditionally held by

utilitarian means to an end

(as a model for weaving a

tapestry), the cartons leave

their "servile status", in the

words of director Miguel

Zugaza, to emerge

stronger from the exhibition

as full "autonomous

masterpieces" of shades .

To achieve this, the

curators Manuela Mena

and Gudrun Maurer,

Department of eighteenth-

century painting and Goya

museum, grouped into 15

meeting series (which are

incomplete, lacking, for

example, the famous The

puppet and The Injured

Mason, loaned to Boston

and Barcelona).

This December will visit

the exhibition "Goya in

Madrid" which opened late

last November in the

Museo del Prado.

A necessary work of

improving communications

between the central gallery

of the Museum and the

upper floor where the

cartons are exposed

tapestry painter, has led to

the virtuous enhancement

of the series, whose

production ranges

occupied nearly two

decades of the artist's life.

A perhaps less epic than

inaugurate the calamities

(deafness, illness, death of

children and war), but

terribly crucial time; are the

days of his landing in

Madrid, when the artist and

www.amigosmava.org

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 2014.

Cultural Tours.

Culture 2014 Programme.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

This December will visit the

XXVII edition of the Craft Fair

of Madrid to greet the glass

artisans who have attended

this fair, which is gaining more

momentum with each passing

after his transfer from Paseo

edition de Recoletos.

Also, at the end of this

December will spend a few

days in Ibiza and exploit our

stay to visit any glass

workshops on the island.

It will also be interesting to

Page 27

The magical art glassmaker.

perhaps the use of oxygen

that can lift more temperature

torch to melt, but it's basically

worked as do many years.

Do you also use the lost

wax method?

Is another technique,

sculpture block, similar to the

technique of bronze

sculptures, but instead of

melting metal, glass pieces

we use a high temperature

mold and melted and then

copy the shape of the mold.

What inspires you to

create?

Sometimes things that I see

in books, other, I get to work,

and I am driven by the

challenge of the material

itself, which is pretty

haphazard. And we try to

create pieces that are

unique, it is more difficult but

cuter.

Does it hurt to let go of a

piece you have sold?

Sometimes yes. I have some

saved in my own collection.

Currently the work can be

seen in the sample, but

when done where can we

see them?

in www.facebook.com/

arteniba

Ballari Nino is an artist who

is defined as glazier, but

develops a universe of

unique pieces of jewelery

and objects in glass and

Murano glass, accompanied

by his wife Florence

Chamorro.

Together these days exhibit

shows "Murano in La

Pampa" - Jewelry

Contemporánea-, at the

headquarters of Arts Own

Santa Rosa.

Curtain Pampeano Nino

spoke with this new

experience in La Pampa and

the process of developing

these unique and attractive

creations.

How do you define?

Glazier. We work with

various techniques of glass,

which is what we like. We

stained glass, fused glass,

glass sculpture, and jewelry.

What was your first

contact with the glass and

jewelery?

I was making pottery, which I

like a lot, but now I quit do

so, when my wife, Florence,

began with a workshop

vitrofusión with Susana

Machado. Caught this

discipline, and so we started;

curiosity emerged after start

learning other techniques.

I took a workshop in Buenos

Aires with pampeana based

artist named Mariana

beyond Folz, I made two

different seminars that much

variety within the accounts.

And the rest of the training

was developed to

investigate, through books,

videos and much practice,

breaking many windows.

Ever worked with glass

and crystal, or you

explored other materials

such as stones, enamel?

I started with ceramics, after

I went to the glass, and does

a recently did a workshop of

carved stones, which is

closely related to carving

glass.

How the pieces are made?

What determines the

shape, texture and design

of the same?

Buy glasses on the outside

because there is this type of

glass in Argentina. They are

rods, a blowtorch is used,

and is basically melt, melt

the glass, and manually

going through modeling tools

and shaping it.

Does the job has changed

with new technologies?

It is a technique that comes

from thousands of years

ago. Not if it has changed,

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 28

Other trends. Ruins Calatalifa.

www.amigosmava.org

The Islamic population

Calatalifa (a fortified city of

the ninth century, according

to research) had to wait 35

years for the Community of

Madrid, bringing together the

skills of heritage, decided to

study it.

In 1980 the first excavations,

quizzes and tastings in the

land situated on a hill near

the Guadarrama river at the

end of Villaviciosa (26,700

inhabitants) were performed.

That campaign unveiled

what could be the fourth

Arab city in the region.

But Calatalifa has not been

investigated since. Pressure

from neighbors and the poor

state of the site (which

suffered a collapse in May)

have made the Community

decides to undertake a

preliminary study of the

ruins.

"On Wednesday came about

ten technicians and were

walking around," says

Encarna Martin, owner of the

land on which part of the wall

and the cisterns of the

population, the reservoir

but precise in that it is "in the

hands of the Community".

The Consistory is conducting

an economic study of the

project, but for now its

performance has been

limited to perimetrar and

mark the area with danger of

collapse.

For the study -cuentan

owner-Madrid has hired a

private company.

Manuel Twist, archaeologist

who made the first tasting in

1980 and has participated in

excavations of Islamic cities

as Calatayud or Alcalá la

Vieja, has been left out.

He pointed to that could

have Visigoths under the

Arab population remains,

whose extent is not yet

known. No one will find out.

The landowners meet

Thursday with Heritage to

reach a collaboration

agreement whose terms still

unknown.

"I would like it to go ahead a

museum," says Martin.

The only value of this rustic

land, once fertile, waiting

underground.

section remains uncovered

settle.

The general direction of

Heritage explains that, for

now, research is only a

preliminary study.

This will be divided into two

phases: in the coming weeks

will take place a historical

and geological terrain

analysis, and in early 2015 a

deeper study of the area will

be.

"Then decide what is best for

conservation," says the

Department of Culture. It is

not certain, therefore, that

the ruins are to be removed

to surface.

"What we fear is that this will

come to nothing," says

Martin, also a member of the

newly formed association

Calatalifa-Rahman III, which

seeks to vindicate the ruins.

"We already gave

permission to excavate 30

years, we are more than

willing to do anything," he

says.

Villaviciosa City Council also

insists he is "very interested"

in investigating Calatalifa,

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 29

Polish Museum Lahdelma & Mahlamäki.

Work of Helsinki study led by

Ilmari Lahdelma and Rainer

Mahlamäki, designed in

collaboration with the signing

of Warsaw Kuryłowicz &

Associates, the Museum of

the History of Polish Jews is

located in the Willy Brandt

park.

The location of the new

museum building was not

accidental.

Between 1941 and 1943 the

ghetto was the center of

Polish capital.

In April 1948, to mark the

fifth anniversary of the

uprising of the Warsaw

Ghetto Monument was

discovered to the Heroes of

the Ghetto Uprising, when

included already in the

history books by the famous

"Kneel Warsaw" gesture of

humility and penance

performed by the German

Social Democratic

Chancellor Willy Brandt in

1970.

The main entrance to the

museum is located in front of

this monument.

The simple and compact

rectangular volume presents

a double façade, whose

outer skin is made up of

copper and glass panels

printed with texts in Hebrew

and Latin.

The museum is designed as

a multipurpose center for

research and exhibition of

Jewish culture in a total area

of 18,300 square meters,

5,000 of which are intended

for the permanent exhibition,

which opened last October.

The shape of the building

contains a rich symbolic

content.

Your homogeneous glass

facade is crossed by a

space as a cave.

The concrete walls 20

meters high that shape the

space were defined as

gentle waves that references

the Biblical crossing the Red

Sea by the Israelites.

In the glass panels were

printed Latin and Hebrew

letters that make up a frame

where you can read the

word "polin" meaning

Poland.

In Hebrew, "polin" also

means "Here you can rest."

The museum building has

four high and two

underground floors, which

are a major area of 4000 m²

for the permanent exhibition,

a conference room with

capacity for 480 persons, two

smaller meeting rooms and

staff offices .

The program includes an

auditorium, a library, a

cafeteria, a restaurant and

officiate, highlighting the

cavernous lobby of curved

walls.

Recently, the museum has

won the Award for

Architecture Finland, which

first gives the association of

architects in the country.

Museum the outer skin is

composed of two materials:

glass panels and copper

vertical length of 170 cm,

were placed on a metal

substructure, which

describes the horizontal

plane in a zigzag line.

Depending on the position of

the observer changes the

character of the building.

If viewed from the front,

printed glass skin reflects

light and semitransparent

shown.

Copper perforated panels,

however, allow the view of

the interior space.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 30

Jika Kolbe in Madrid.

Jitka Kolbe

The Czech designer

specializes in Bohemian

glass and porcelain.

Lives and works in the

Czech Republic, a

country famous for its

production of high quality

glass.

The artistic trajectory of

Jitka Kolbe began in

1980 with his studies at

the Academy of Arts,

Architecture and Design

in Prague (Czech

Republic), a recognized

center of world-class art.

He studied in the studio

of famous Professor

Stanislav Libenský.

In 1987 he began his

collaboration with the

company of designers

and architects ATIKA,

where he devoted himself

to the production of glass

sculptures illuminated as

decoration for

architectural spaces.

With its illuminated

sculptures earned much

success and quickly

began to exhibit and

present their works in

major fairs and galleries

around the world.

After his studies, Jitka

Kolbe is especially

dedicated to the

sculptures of blown

glass, where he took the

combination of colors and

transparency of glass.

With its glass sculptures

have been featured in

several major galleries

and design fairs around

the world, among which

are:

Young creators (Munich,

Germany), The

International Exhibition of

Glass (Kanazawa,

Japan), Gallery Invetro

(Hannover, Germany),

Gallery L-Heine Haus

(Hamburg, Germany),

Chelsea Gallery (Zurich,

Switzerland), Gallery

Hoffmann (Bad

Griesbach, Germany),

Gallery Vetro (Frankfurt,

Germany), The

International Exhibition of

Glass (Yamaha Corp.

Japan), Gallery Roselare

Verstraete (Belgium),

Czech Contemporary

Design (Beijing, China),

Designblok (Prague,

Czech Republic), Salone

Mobile (Milan, Italy), etc.

It currently specializes in

the design of products for

limited collections of

original design copyright,

such as wine glasses,

pitchers, cups, plates, etc.

It also designs art glass

large, such as vases and

sculptures.

All products are

manufactured by skilled

glass blowers in factories

in Bohemia, located in the

northern Czech Republic.

So are born original and

unique fine handmade

glass that uses the

properties of glass of

Bohemia forms.

Some pieces show its raw

beauty and others use

gold or sand for

decoration.

As product is handmade,

each piece is original and

is labeled with the mark of

the KOLBE designer.

In 2005 came the first

collection of porcelain

Jitka Kolbe.

Since then offers its

collections, or individual

original porcelain cups

also with the KOLBE

brand.

In Madrid we can find

their products in Kolbe

Design, Road Carpetana,

139.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 31

www.amigosmava.org

Sculptures by Robert Mickelsen.

Robert Mickelsen is one of

the most renowned glass

artists of the world.

His creations are revered as

revolutionary in the world of

glass art, and has integrated

his figure as he has

discovered torch as an art

form.

The year 1989 was marked

as a new beginning for

Robert Mickelsen they

stopped doing craft shows

that year and began

marketing his work to

galleries, which proved to be

a success in his career.

His work is now part of

prestigious collections, such

as the Renwick Gallery of

American Crafts at the

Smithsonian Institution, the

Museum of Glass in Corning,

the Toledo Museum of Art,

Carnegie Museum of Art, the

Museo Casa de la Moneda,

the Cleveland Museum of

Art, the Museum of American

Glass at Wheaton Village,

and the Pilchuck Glass

School.

Robert's work is heavily

focused on the shape, size,

color and texture.

Creates glass sculptures

great detail, paying homage

to traditional forms of

utilitarian glass.

Some of his works include

literal motifs found in nature,

in human, animal and plant

forms.

These figurative motifs are

juxtaposed with abstract

shapes creating fantastic and

mysterious sculptures.

Robert says that his works

are narratives, representing

the internal process of

thought.

The colors you choose are

bright and bold, and textures

of his works invite the viewer

to touch them.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 32

www.amigosmava.org

The company Cerviglás won the award for Best Solution in Glass in the first round in Spain of Glass Architecture Awards organized by the French multinational Saint-Gobain Glass with the cooperation and participation of the Superior Council of Colleges of Architects of Spain (CSCAE ).

The company gets recognition by the Administrative City of Valencia October 9 Project.

The event, held in Madrid, was chaired by the Director General of Saint-Gobain Glass, D. Javier Colmenares Martinez, and was attended by nearly one hundred professional architects, façade and glazed accompanied the rewarded.

Along with Cerviglas was also awarded to the study

of Alberto Campo Baeza, Roland and Berengué and businesses Riventi and Glass Cobo.

It is about recognizing those projects that maximize the benefits of glass and its technical characteristics and that achieve unique designs integrating the building into its environment.

The company shares the award and "greatly appreciates the cooperation of AIC Equip architectural firm headed by Juan Anon, because without them there would have been undertaken this flagship project of the city of Valencia," say sources of direction.

The project combines different technical solutions integrating the facades and domes.

While using the dichroic film is very clear and innovative, not least is

the use of glass layer solar control, low emissivity and serigraphs.

Complex combinations which together reach a high level of performance in formal and energy terms.

The high complexity and automation of the glass transformation is valued.

The president, Vicente Cervera, and the manager, José Cervera, were responsible for receiving the award on behalf of this company that has over thirty years working glass in all its variants.

Just last year the sector also recognized his career granting the glass cube of the Union of Manufacturers and Warehouse Mirrors Glass (UNFEAC) as Partner of the Year Award 2013.

Award Cerviglás.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 33

International Congress on PC.

We responding to the

invitation we received from

the Directorate General of

Cultural Heritage and

Quality Cityscape, the

Government Department of

Arts, Sport and Tourism of

Madrid, we went on day 1

and 2 to the meetings of

the International Congress.

Madrid has become for five

days world leader in

cultural landscapes,

bringing together a

powerful panel of

international experts in the

field, from Japan, Mexico,

Argentina, United States,

Colombia, Italy and Spain,

as well as an large number

of specialists members of

Spanish National

Committee of ICOMOS

(International Council on

Monuments and Sites)

from 1 to 5 December.

This conference is the first

activity that triggers the city

since it was announced the

inclusion of "Site Retiro

and Prado" in Spanish

Indicative List of World

Heritage, last November

18, at the meeting of the

Council of Historical

Heritage in Lanzarote.

The Congress was opened

by Fernando Morales

Carrión, Director General

of Historical Heritage of the

Community of Madrid and

the delegate of Arts, Sport

and Tourism of the City,

Pedro Mª Corral.

Accompanied by

institutional

representatives of the

Ministry of Culture, the

Community of Madrid, the

City of Madrid and the

Spanish National

Committee of ICOMOS,

the delegate highlighted

the active policy in the

conservation and

restoration of monuments

and historic buildings and

heritage environments

from the city of Madrid is

carried out.

"A priority area, which also

includes the participation

of citizens, aware of the

value of heritage and who

appreciate visitors to our

city, which increasingly

number enjoy, especially

the cultural attractions that

Madrid offers" .

The Congress, organized

by the Directorate General

of Cultural Heritage and

Quality Cityscape City of

Madrid, is divided into two

parts.

First, open to invited

audience, was held on 1

and 2 in the Pavilion Cecilio

Rodriguez Gardens in the

Parque del Retiro, and

featured presentations by

international experts plus a

visit to this park special

tour.

On 3 and 4 December will

be the second part,

reserved for speakers and

experts from ICOMOS,

where specialists will visit

the Cultural Landscape of

Aranjuez.

Participants met in detail

the proposed World

Heritage Madrid.

Also during this part will be

discussed in working

groups the issues

discussed earlier days, in

order to produce a final

document to be presented

publicly on Day 5 in the

Municipal Library Eugenio

Trias, and will allow a better

understanding of the

meaning, the peculiarities

and methodology of cultural

landscapes in the context

of World Heritage.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

View photos

Page 34

How does.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14 This month we include some pictures of the technique practiced by Anu Penttinen.

Page 35

The Olmec head with glasses.

Head Olmeca no longer

seen in the same way.

Since early November

kicked off work to

"protect" the monument

of the colossal figure,

emblematic of the state of

Tabasco, and forced

photograph of visitors to

this tropical land.

The work includes the

placement of a bench 60

inches to support a clear

glass wall 15 millimeters

thick and one meter 20

centimeters high; the

work will take place over

a period of 40 days, ie six

through December 15.

Again closed

Work tear after eight

months and 21 days the

park was open to the

public, after spending six

months closed due to

maintenance at 17 million

647 thousand pesos

were invested.

Now, again access to the

Museum will be restricted

to the public due to the

work of dredging of the

health network, cleaning

the pond where dwelt

Papillon, as well as the

"protection" of the Olmec

head where a million 192

thousand 023 pesos

apply.

"From today protection

jobs Head were initiated,

so tours are limited to the

zoo area and part of the

archaeological area,

however the light show

and sound yes shall be

suspended until the works

are supervised performed

by INAH and to be held

from November 6 to

December 15, "he said in

an interview coordinator

Parque-Museo Ruben

Vera.

Asked about the project to

the "urn", the president of

the Mexican Council for

Citizen Development,

historian Gabriel Angulo

Pineda said that are

important strategies for

the preservation and care

of the colossal figures,

"though it would be

unfortunate not to have

the main attraction open

to the public" park.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 36

Invention of laminated glass.

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

This casual invention was

what is commonly known as

a "Serendipity".

You know, those unexpected

discoveries where scientific,

without really knowing how,

given a finding when actually

meant something very

different.

This was what happened to

Edouard Benedictus, a

French chemist who in 1903

brought a must in our daily

lives: the laminated glass.

Edouard Benedictus, was,

like every day, working in his

laboratory.

He was a chemist and

inventor, a French inventor

who was this morning

experimenting with cellulose

nitrate.

Which will hit the ground a

glass flask was nothing new

or unusual, but our French

chemist gasped to see that

despite having broken the

flask had not been shattered.

Ie had not evolved a single

crystal piece of the original

shape of the container.

Was perfectly bonded.

How could it be? this was

just fascinating, therefore,

that the mind of the inventor

began to implement gears

wit looking for some practical

applicability to that event.

Although, of course, the first

was to understand how it

happened.

He did a little mental decline

and recalled that the flask

was covered inside by a

solution of nitrocellulose, a

material within seconds had

vanished without a trace, but

yet was sufficient to apply a

protective coating to glass

preventing its fragmented.

Wonderful, definitely

Perhaps surprisingly, but it

took many years before

Edouard Benedictus give his

glass applicability we all

know.

Shortly after the outbreak of

World War I, and his

invention was infinitely

practical eye glasses gas

masks.

Thus, serious injury is

avoided in this sensitive part

of the face.

The truth is it was not until

the French inventor

witnessed a serious car

accident when he was light

and realized how it could use

its unbreakable glass.

In that accident a girl had

suffered serious facial injuries

after the car windshield

exploded against her,

disfiguring.

He had to do something,

something useful with his

unbreakable glass.

His later invention was to join

two sheets of glass with the

same solution nitrocellulose

forever.

Thus, the automotive world

would avoid one of the most

common risks at that time.

In the early twentieth century,

half of those killed in traffic

accidents was precisely

because the impact of the

front glasses over their

bodies. Something really

tragic.

In 1939 laminated glass was

already widely used. They

called him "safety glass

indestructible" and was the

Ford Motor Company in

Dagenham, England, the first

to market it.

Page 37

Science Week in Jaén.

www.amigosmava.org

A group of seventy-five

students from Secondary

School Christ the King

and the IES San Juan

Bosco have closed the

Science Week in Jaén

two activities, first viewing

of the documentary 'The

mystery of the giant

crystals' which has been

accompanied by a

discussion with two

experts in

crystallography, and on

the other an observation

of the Sun made from the

observatory of the UJA,

followed by a scientific

talk on energy

phenomena occurring on

the surface and inside of

this star.

Regarding the

documentary 'The

mystery of the giant

crystals' has ensured that

attendees learn how

crystallography studies.

"We glass everywhere

and everyday," said the

scientist at the UJA Mª

Isabel Abad, adding that

"a crystal is a material

that has an ordered

structure of atoms, as is

the case with many

medicines, minerals ,

vitamins, proteins and

even many materials

used in technology

precisely for its regular

and ordered structures. "

Students also learned

from this activity what

being a crystalline object,

and that exactly what we

recognize as glass, ie

glass windows or glass

lenses are no crystal

structures.

The expert in

crystallography UJA,

Africa Ivy, noted for his

part that "disclose the

achievements of this

discipline is a way of

ensuring the continuity of

his scientific activity" and

stressed the importance

of holding informative

events such as Science

Week to keep society

informed on progress in

research and scientific

figure closer to citizens.

With these two activities

Jaén ve closed its

program Science Week,

one of the biggest events

in European scientific

communication, although

Campus Linares still held

the following Saturday a

guided tour of the mining

heritage of the region of

Linares and La Carolina.

The Unity of Scientific

Culture and Innovation is

responsible for all

activities included in the

program of the UJA

department.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 38

www.amigosmava.org

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Dome of the Reichstag.

The Reichstag dome is made of glass, with a 360 degree view of the surrounding cityscape.

The debating chamber of the German parliament, the Bundestag, can be seen below the dome.

A reflector cone in the center of the dome directs sunlight into the building.

The dome is open to the public and can be reached by several spiral ramps made of steel that recall the shape of a double helix.

Foster's dome is designed to be environmentally friendly.

The design involves the use of sunlight shining through mirrors cone dome, in order to reduce carbon emissions from the building.

The futuristic design of the Reichstag dome

make it a unique landmark that symbolizes an attempt to divert to Berlin from his past in Nazi Germany and communism to emphasize the future of a democratic and united Germany.

On February 27, 1933, both the dome and the rest of the building were seriously damaged in the fire at the Reichstag, which were blamed communists, despite the lack of evidence showing authorship.

The remains of the building and the dome were again damaged during the bombing of Berlin during the Second World War and the battle occurred in the same city in 1945.

The Reichstag was partially rebuilt during the 1960s as a conference center, but not the dome

was rebuilt.

Much of the dome and the ornamentation of it had been removed.

With German reunification and the decision to move the capital from Bonn to Berlin, it was decided that the Reichstag building was rebuilt with a new dome that is identified with a united Germany.

The architect Norman Foster won a competition for the design and reconstruction of the dome in 1993.

Foster wanted the dome was a cylinder, after its original design of a parasol, which was rejected because of its cost.

The design of the dome was the controversial first but has become one of the biggest attractions of Berlin.

Page 39

www.amigosmava.org

If something manufacturers are clear market leaders automotive glasses is that differentiation away from producing medium or aftermarket is in the use of technology to deliver differentiated products.

Saint Gobain Sekurit has taken a step forward in this direction and will become the first manufacturer to design and produce a single glass in the model Renault Eolab.

In search of an ever thinner and lighter windshield has made it to create a moon only 3mm over standard 4.5mm.

This moon will have a 30% less weight and is emerging as the windshield of the medium-term future, as manufacturers seek to lighten the maximum

vehicle weight.

To achieve this thickness requires a high investment in technology and very few manufacturers can match it.

The features of this moon light weight and almost minimum thickness will make the aftermarket recambistas not reach these standards and are unable to copy its features without investing huge amounts of money to upgrade their technology.

"It has reduced the thickness EOLAB crystals to 3 mm (4.5 mm compared to the current standard), representing the thickness of a pencil stroke.

The thinner glass windshield with a particular aerodynamic shape, a first in the

automotive sector, the technology adopted side glass of the laminated glass (no annealing) and several non-slip glass turn to the polymers that although have generalized for prescription glasses, are still rare in the car. "

"The rear window varnished uses polymeric materials (replacing tempered glass): This technology has enabled a one-piece component polymer coating material also integrates the taillights.

Example of integration of functions that contributes to both lightening and the aerodynamic performance of EOLAB ".

"The integration of these technologies has reduced to 21 kg weight EOLAB glasses kg versus 28 to an actual vehicle, ie a gain of 9 kg (25%)".

Saint Gobain Sekurit creates a unique glass.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 40

www.amigosmava.org

Corning Gorilla Glass 4 announced.

been adopted more

frequently, as well as

other cheaper alternatives

explored by

manufacturers to lower

production costs.

And by the way, an

interesting video of the

Mythbusters explaining

the properties of Gorilla

Glass.

Corning has announced a

new iteration of its

technology reinforced

glass Gorilla Glass 4,

which seeks to end

broken screens of

smartphones from falls.

Gorilla Glass 3 is present

in a wide range of

modern smartphones and

has proven to be quite

sturdy, but still falls

remain a major cause of

breakage.

Gorilla Glass 4 is even

tougher, and Corning

laboratory has evaluated

its resistance to falls of

up to one meter, with 80

percent efficiency.

However, Corning now

must also face other

products such as

sapphire crystal that has

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 41

www.amigosmava.org

Glass on Tower Bridge.

Apparently, it all

happened when a

member of staff working

in the catering service

dropped a bottle of beer.

Fortunately, the gateway

is composed of five layers

of glass in each panel so

that the engineers need

only replace the top layer

of the panel.

At no time was there a

risk that some tourist fell

off the cliff, since,

according to spokesmen

of attraction is only one of

those five layers

damaged.

A similar incident

occurred recently in the

gazebo glass Willis Tower

(Chicago), one of the

tallest skyscraper in the

United States (442

meters).

Then He cracked one of

the panels of attraction,

without anyone getting

hurt.

The iconic Tower Bridge

in London opened the

first of two glass

walkways that will enjoy

spectacular views of the

Thames from its 42

meters high.

The new glass floor,

composed of six panels

of about 530 kilos of

weight and eleven meters

long by 1.8 wide in total,

gives Londoners and

tourists the chance to see

the drawbridge, traffic

that crosses the Thames

and craft in a way never

seen before.

This glass walkway

opened on the west side

of Tower Bridge, one of

the most recognizable

landmarks in London and

one of the most famous

bridges in the world.

It is anticipated that a

similar gateway opens,

also of glass with the

same dimensions, the

December 1 in the east.

The bridge, designed by

architect Horace Jones

and engineer John Wolfe

Barry, was inaugurated

on June 30, 1894 by

future kings Edward VII

and Alexandra, when

they were still princes of

Wales.

The glass walkways are

financed, among others,

by the City Council of the

City of London (financial

district) and had a cost of

a million pounds (more

than one million two

hundred fifty thousand

euros).

Its opening coincides with

the 120th anniversary of

Tower Bridge, which

annually receives nearly

600,000 visitors.

But the first incident has

taken a while to arrive. It

happened at night, and

technicians have worked

for a whole weekend to

replace the piece of glass

shattered.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Page 42

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

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

La Asociación de Amigos del MAVA fue

constituida el 21 de junio de 2003 de confor-

midad con la ordenación vigente.

La finalidad de esta Asociación es pro-

mover, estimular y apoyar cuantas acciones

culturales, en los términos más amplios, ten-

gan relación con la misión y actividad del

Museo de Arte en Vidrio de Alcorcón.

Nuestro objetivo es desarrollar activida-

des y colaborar con otras entidades públi-

cas o privadas en la promoción, defensa y

difusión del Arte y la Cultura.

Nuestros socios pueden ser honorarios,

benefactores, numerarios y juveniles.

www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Rosa García Montemayor

Tesorera

Mª Angeles Cañas Santos

Vocales

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

Page 43

Congress. Images (I).

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Pedro Mª Corral, the City of Madrid Mª Rosa Suárez-Inclán, President of ICOMOS

Kunie Sugio, of Japan Ignacio Gómez Arriola, of México

Mabel Contín, of Argentina Robin Karson, of EEUU

Juan Luis Isaza Londoño, of Colombia María Linarejos Cruz, of Spain

Fernando Carrión, Community of Madrid

Page 44

Congress. Images (II).

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14

Mónica Luengo Añón, of Spain Wataru Ono, of Japan

María Chiara Pozzana, of Italy Víctor Fernández Salinas, of Spain

Carmen Añón, of Spain

Page 45

Luciano Fabro. Images.

Vo

lum

e II

— N

um

be

r 7

2

De

ce

mb

er

20

14