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Art Horizons. M. A. Carretero.
27 and November 28 will
be held in Auditorium 200
of the National Museum
Reina Sofia Art Center
Symposium will feature
the participation of diffe-
rent actors in the con-
temporary art scene to-
day , and aims to make
visible to the public on
the state of issues worked
by the observatory
groups as well as the
conclusions and propo-
sals for action that could
be carried out to impro-
ve the projection of Spa-
nish contemporary art in-
ternationally.
Needless to say, the art
glass has no special signi-
ficance in the subjects
relating to art as a whole.
Therefore, we have ap-
plied for registration at
the Symposium of two
components of the Bo-
ard of our Association
and we will go with the
idea of trying to make
this meeting attendees
know and become awa-
re that there is a kind of
art that is done with
glass, and we have a
sneaking suspicion that
the Spanish art world does
not grow with the con-
cept that you can do art
glass.
This view is declare with
great sadness , after wat-
ching our northern neigh-
bor host of various biennial
whose common denomi-
nator is the glass.
In our recent visit to the
Biennale in Strasbourg we
have witnessed a large
number of art galleries in
the city have offered their
different exhibition spaces
for artists who express their
feelings through the glass
to showcase their works to
the public.
As most of the galleries
opened their exhibition on
the same day , we witnes-
sed the movement of
people from one gallery
to another to see the ma-
ny exhibits.
It is true that some of the
galleries made available
to the organization of the
Biennale we attracted
much attention since they
were located on floors of
houses or in some neigh-
boring yard , and perhaps
because of our lack of ex-
perience in the domain of
the existing spaces for the
dissemination of contem-
porary art shock us all that
is not an exhibition space
at street level.
But for us , the important
thing is that glass artists
have been able to count
spaces in Strasbourg to
present their works and
the public to appreciate
the development of his
art.
And in most cases, the
work will be exposed to
late November.
A few days earlier took
place in the French town
of Carmaux another bien-
nial exhibitions and live
demonstrations of several
glass artists , biennial
which , given the proximity
in time to Strasbourg , we
could not go as he would
have been our desire.
In the world of art to other
neighboring countries
glass art is a strange alien
world that arises not know
how and with the danger
of breakage.
In our experience of live
demonstrations , we pro-
ved that an artist who
paints a picture , an artist
who sculpts in wood, an
artist who made a piece
of pottery , to give some
examples , the audience
goes , look for a moment
and moves on. But with a
live demonstration of a
glass artist doing a piece
with a torch , or by blo-
wing through a reed, or by
thermoforming, attends
public " open-mouthed "
at the spectacle offered.
Why not take this advan-
tage and fill the spaces
we offer live demonstra-
tions on how to perform
the works of art in glass ?
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)
[email protected]@amigosmava.org
Monthly Newsletter
Newsletters
Egidio Costantini
Página 2
Intellectual Proper-
ty Law
BOOK II. TITLE VI
PROTECTION OF CER-
TAIN EDITORIAL PRO-
DUCTIONS
Article 129 unpublis-
hed public domain
works and works not
protected.
1. Any person who
lawfully discloses an
unpublished work
that is in the public
domain will have on
it the same rights of
exploitation that had
accrued to the aut-
hor.
2. Similarly, the edi-
tors of works not pro-
tected by the provi-
sions of Book I of this
Act , shall have the
exclusive right to aut-
horize the reproduc-
tion, distribution and
public communica-
tion of these issues if
they can be distin-
guished by their type-
setting , layout and
other editorial featu-
res.
Article 130 Duration
of rights
1. The rights recogni-
zed in paragraph 1 of
the preceding article
last twenty five years,
counted from Janua-
ry 1 of the year follo-
wing the lawful dis-
closure of the work.
2. The rights recogni-
zed in paragraph 2 of
the preceding article
last twenty five years,
counted from Janua-
ry 1 of the year follo-
wing the publication.
TITLE VIII
RIGHT ' SUI GENERIS '
DATABASES ON
Article 133 Object of
protection.
1. The right " sui gene-
ris " on a database
protects the substantial
investment , evaluated
qualitatively or quanti-
tatively , that makes its
manufacturer either
financial, employment
of time, effort , energy
or other similar bodies
for the obtaining, verifi-
cation or presentation
of the content.
By law referred to in
the preceding para-
graph , the maker of a
database can prevent
extraction and / or re-
utilization of all or a
substantial part there-
of , evaluated qualita-
tively or quantitatively ,
provided that the ob-
taining, verification or
presentation of the
contents represent a
substantial investment
in quantitative or quali-
tative . This right may
be transferred , assig-
ned or granted under
contractual license.
Exposition in Guadalajara.
www.amigosmava.org
The next day, November 6 ex-
hibition opens in Guadalajara
School of Art with works by the
brothers Martin Rojas, Azuque-
ca de Henares, members of
our Association, and Beatrice
Peral.
The exhibition will be open un-
til November 27.
She has been called
"Expeditions Factory geome-
tric light" and the School is lo-
cated in the Plaza Ceuta and
Melilla, No. 6 and 7 of Guada-
lajara.
The inauguration will take pla-
ce at 17 h. the next day 6.
SPECIAL INTEREST:
Part of the month
Biennal of Strasburg
Plan for FCNV
Project for CNV
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
Biennal of Strasburg 5
Plan for FCNV 6
Research line 7
Activities in Museums 8
Activities in the MAVA 11
Dialogues with ..... 12
Project for CNV 13
FARCAMA 2013 14
Bellotti in La Granja 15
Nativity in MNAD 16
Factory New Baztan 17
News 18
Culture 2013 18
Concert at the MAVA 19
Reciclamadrid 2013 19
The glass museum 20
Olafur Eliasson 21
Stained glass in Miraflores 22
Glass recicled 23
Glasses hispanic-roman 24
Cultural tours 25
Culture 2013 Programme 25
Bloggers in La Granja 26
Lycurgus cup 27
Other trends 28
The Czech glass industry 29
Episcopal Palace 30
Takahiro Kondo 31
"Sound of Fire" 32
Tutankamon in N York 33
How does 34
Glass in Ecuador 35
Verallia invests in Burgos 36
Guardian in Bilbao 37
Expressing a medical 38
Smart glass in Israel 39
Lucie Koldová 40
Directorate 41
Important issue: the Intellectual Property Law (XXXI) M.A.C.(XXXI) M.A.C.(XXXI) 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
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Student first Zelezny High
School ' Brod, made after stu-
dies at the Academy of Ap-
plied Arts in Prague under Pro-
fessor Joseph Kaplicky who
instructed him in Monumental
Painting and Glass.
This duality between painting
and glass will be maintained
throughout his career.
Start working as an indepen-
dent artist in the '60s , beco-
ming known to their sources of
glass, set in the famous and
powerful Czech pavilion at Ex-
po 67 Montreal.
Distinguishes his work from the
rest of the Czech production 's
use of color and the play of
light , features closer to those
of a painter to a glass artist.
Use the sheet glass , painting
the surface of these and then
joining them to create his fa-
mous series of cubes , where
the geometric and abstract
designs are suspended inside
the cubic form with full effect
of beauty and mystery.
He worked on numerous com-
missions architectural win-
dows and enclosures.
From the 90s his inclination to-
wards painting becomes
greater , using the glass plate
holder just as his paintings to
applying other surface treat-
ments.
In any case , most of your
work then you will have only
two dimensions.
His work was admired throug-
hout the world but in no
elsewhere as in Japan, where
its valuation as an artist was
huge.
He produced numerous ex-
hibitions since the early 80 par-
ticipating in virtually all editions
of Glass Now.
One of his last speeches was
the "Garden of Fantasy and
Music " that made for the oc-
casion Czech pavilion at Expo
2005 in Aichi.
Based on the idea Motor Expo
on " The Art of Life" , the pro-
ject developed was based on
the interaction between light ,
water and music.
In Japan had good friends,
Kyohei Fujita died also among
them.
www.amigosmava.org
Part of de month. Bohumil Eliáš.
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Página 4
a receptionist at the Banca Com-
merciale and studied for a degree
in Botany at the University of Parma
in his spare time .
In 1945 he moved to Carnia and
began working with the surrounding
natural woods . It was here that the
artist first developed an interest in
working with glass .
Before embarking on his own care-
er glassmaking , Costantini began
as an agent for several glass facto-
ries of Murano in Venice , which
allowed him to work with teachers
glassblowers and learn the ins and
outs of the trade.
I wanted to raise the craft of glass
blowing at the same level as sculp-
ture or painting, so he started colla-
boration among glass blowers, ar-
tists , and himself to create glass
sculptures based on drawings by
contemporary artists.
Then she started working with a
group of Venetian artists and this
came the founding in 1950 of the
Centre Studio Pittori del Vetro di
Murano nell'arte .
Four years later he moved to Paris
to promote his project with the most
famous artists of the time, and this
led him to collaboration with
Alexander Calder , Gino Severini ,
Pablo Picasso , Jean Arp and Max
Ernst , among others.
Daireaux has developed over
more than twenty years of art
facilities that incorporate diffe-
rent media: sculpture, photo-
graphy , video, brought from his
many travels around the world .
Far from the exotic or anecdo-
tal, like clockwork meticulous,
focuses on the gestures, and ob-
jects over time .
It reveals unsuspected layers of
reality.
And many of the projects are in
the drawers of Daireaux .
Everything is potentially there in
germ and constantly updated
by new trips .
A few years ago that builds pac-
kages mysterious colored glass
bangles you see in the markets
during the numerous trips to In-
dia. He opened with them a
new drawer.
The artist landed in Firozabad , a
town north of India.
Local specialties , glass bangles
are the spearhead of activity in
the industry is almost entirely de-
voted firozabie for more than
600 years.
Beaten by the colors and forms
of these sculptures , François
Daireaux bring some in your lug-
gage and stores them in a cor-
ner of his study and in his head
for more than three years.
www.amigosmava.org
Egidio Costantini was born in Brindisi
on April 22, 1912 .
When his father died in 1918 , he
moved to Venice with his family
and studied at a technical college ,
where he earned radiotelegraph
operator 's license .
He initially worked at the Circolo
Motonautico of Venice, but at the
start of World War II found a job as
Established artists. Edigio Costantini.
Young artists. François Daireaux. Our web
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www.amigosmava.org
Our trip to the Biennale in Strasbourg.
Like two years ago , we have
also been present at this ye-
ar's opening of the Biennale
internationale du verre 2013 in
Strasbourg organized by the
European Studio Glass Art As-
sociation ( ESGAA ).
In the setting of the Barrage
Vauban of this French city
Biennale was inaugurated last
October 18 and has had this
year with numerous exhibition
spaces , both in Strasbourg
and nearby locations. Among
them are the Lalique Museum
in Wingen -sur- Moder, or the
International Glass Art Mei-
senthal.
We arrived by air to the host
city of the European Parlia-
ment on the 17th and the next
day in the afternoon we at-
tended the inauguration ,
greeting and congratulating
ESGAA President , Mr.
Schmoll , for organizing this
event.
Mr. Schmoll recalled our visit in
the previous edition of the
Biennale and was glad to see
us again in this year.
Between 19 and 21 we visited
several art galleries that have
adhered to the Biennial , all in
Strasbourg, La Cour des Boec-
klin except that it is located in
the nearby town of Bischheim.
This year 's edition has been
quite different from the pre-
vious one, and that has had
numerous works of artists but
not the category of the pre-
vious edition, it is true that in
the former told the Wurth Mu-
seum collection that has
works of artists such Libensky ,
Littelton , Cigler , Joan Crous
or Leperlier , among others.
In one of the galleries had the
opportunity to meet and chat
with the artist of Colombian
origin , but settled in a village
near Strasbourg, William Ve-
lasquez.
William was formed for two
years at the School of Fine
Arts of the Colombian capital
and moved to Strasbourg to
pursue his studies for four ye-
ars at the School of Decorati-
ve Arts.
To our question of the reasons
for his move to France infor-
med us that, fundamentally ,
by the lack of artistic outlets in
your country of origin and resi-
dence of his elder brother in
France.
Have been so many photo-
graphic images we captured
of the thirteen exhibitions we
have attended we have to
edit a special issue of our
Newsletter that properly classi-
fied, we present them in an or-
derly fashion.
Our general impression is that
we have found a big differen-
ce in terms of the artistic quali-
ty of some works on the other .
It also has drawn attention to
some works of great artistic
quality were exposed to some
debatable prestige gallery ,
while other lower quality galle-
ries were located in much bet-
ter located.
On our Facebook page you
can see the pictures we have
taken of the works we've seen.
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The Board of Trustees National
Glass Centre ( FCNV ) has ap-
proved the feasibility plan pre-
sented by the School of Indus-
trial Organization ( EOI ) , a
state entity under the Ministry
of Industry, Energy and Tourism
in July 2013 assumed manage-
ment institution based in La
Granja ( Segovia ).
The viability plan includes re-
duced costs and increased re-
venue for the year 2014 with
the aim of achieving financial
balance in subsequent years .
EOI sources have told Europa
Press that thanks to him as well
as the efforts of employers ,
the FCNV will catch up
"immediately " with all outstan-
ding payment obligations ,
both employees and suppliers.
Once given the green light ,
the meeting focused on the
implementation and execu-
tion of the strategic plan.
The execution of works in the
building to ensure the conser-
vation and adaptation to the
regulations and to prepare it
to the needs of the new mu-
seum , are the most immedia-
te projects.
Página 6
Feasibility Plan for FCNV.
Tech Museum of Glass , craft
manufacturing , residence
and school.
The Board of Trustees is chai-
red by the president of the
council of Segovia , Francisco
Vazquez , and counts among
its patrons with five representa-
tives of the Government of
Spain , five representatives of
the Junta de Castilla y León ,
as well as the Mayor of the Ci-
ty of Royal Site of San Ildefon-
so.
EOI Foundation took in July
FCNV management in order
to substantiate its viability and
ensure the promotion , deve-
lopment, education , research
and dissemination of crafts-
manship and history of glass
manufacturing and other artis-
tic and cultural activities rela-
ted scientific technique and
art glass.
This task of management is
part of the Commission for the
Reform of Public Administra-
tion of the Government of
Spain and intends to relaunch
the FCNV to repositioning its
products nationally and inter-
nationally.
It has also established a priori-
ty to work in R + D + i and
FCNV promoting tourism at
national and international le-
vels through various agree-
ments and conventions.
The Strategic Plan , approved
by the Board on October 15
and presented by the CEO of
EOI , Fernando Bayon, vision is
the creation of a socio-
economically valuable space
around the glass , supported
by the " sustained and secular
experience," replace the Ro-
yal Glass Factory of La Granja
as a national and internatio-
nal industry.
The same sources have stres-
sed that the hallmarks of this
Foundation are innovation ,
training and technological
development , collaboration
and interaction with all actors
in the glass sector , the pro-
motion of the heritage of Cas-
tilla y León, the efficient appli-
cation of resources and align-
ment with international trends.
The strategic objectives are
aligned presented around
four units that reinforce each
other and seek to create sy-
nergies development : the
www.amigosmava.org
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Página 7
Estefanía Sanz Lobo.
In Fig. 1 fragment of a work
which has been used with
mixed green mica blue ena-
mel ( in the deepest layer ,
with the texture of a net ) and
silver mica powder mixed with
transparent glass in the outer
layer.
PUMICE POWDER
Powdered pumice or pumici-
ta is a silica compound trioxi-
de and aluminum trioxide ,
among other components :
71 % SiO2, 12.8 % Al2O3 , 1.75
% Fe2O3, 1.36 % CaO , 3.23 %
Na2O , K2 3.83 % , 3.88 % H2O.
Its softening point around 900
° C , so it can be considered a
refractory material.
The temperature used to melt
glass (less than 900 ° C ) fails
to melt.
This material as interesting as
separator and to make molds
is unattractive as an inclusion .
Between two glasses always
has a dry earthy and plastic
effect , especially when
brought in a large amount , if
put in the glass surface , it is
rough, matte opacificada.
However, a void volume can
be achieved inside the glass,
a pseudo - long air bubble we
envision an area where the
dust can be removed once
cooked pumice work.
The opposite occurs when
used as a component separa-
tor or mold : one of the mate-
rials ensures that the glass has
a contact surface with the
base brighter and smooth.
In Fig. 2 , there has been an
inclusion of ground pumice
between two glasses.
The dust is inside, has an opa-
que and dense.
In Fig. 3 , the dust is removed
through a slit to which shaped
the pumice put between the
two panes.
The result is an air bubble ,
whose edges are still some
traces of dust.
Fiberglass
Lines and frames can be
achieved inside the glass
using this material.
For use in small proportions
because they can create
stress areas to defer expan-
sion coefficient with float glass
and other special types of
glass melting.
The fiber used in the tests lis-
ted below has produced ten-
sions.
Is a short glass fiber (about 10
cm in length and 7 to 15 mi-
crons in diameter ) for use in
isolation , in the form of blan-
ket , which has been frayed
disunited into fibers.
Can be used alone, in which
case leaves a visible whitish or
color impregnated.
A very subtle effect is achie-
ved by introducing the fiber in
colored ceramic glaze , pow-
der dry.
You can also get yourself a
stronger effect : you just have
to dilute ceramic glaze soak in
water and fiber in the mixture.
The drawback , however , is
that it increases the thickness
of the fiberglass, and it is more
frequent to small air bubbles
formed , therefore , must take
this possibility into account in
designing the work to incorpo-
rate these air forms the final re-
sult.
Yet it is important to let the
enamel which gives color to
the fiber to dry thoroughly be-
fore insertion between two
glasses , to prevent water from
causing the formation of bub-
bles or white areas after coo-
king.
www.amigosmava.org
Line of research: Inclusions (XIX).
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Página 8
www.amigosmava.org
Activities in Museums I.
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Página 9
www.amigosmava.org
Activities in Museums II.
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Página 10
www.amigosmava.org
Activities in Museums III.
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www.amigosmava.org
Activities on the MAVA. XIII Semana de la Ciencia.
From 12 to November 16, 2013
The Science Week XIII of the
Community of Madrid, will be
the 10th year in which we par-
ticipate.
The theme of this edition is "
Research , participation, pro-
gress."
A classic activities and guided
tours, workshops for students
and families , this year as new,
will have a Technical Scientific
Glass Blowing, Faculty of Che-
mistry, Complutense University
of Madrid.
Moreover, it has built a " Glass
Maze ", a treasure hunt where
the students will have to disco-
ver materials chemistry glass.
From the Museum have sche-
duled a large number and va-
riety of activities for all ages
and types of audiences: scho-
ols, families, adults in a group,
etc.
Schools : 12, 13 , 14 and No-
vember 15, 10 to 14.
Engraving on glass, visit the
museum and the Glass Maze,
scientific glass blowing exhibi-
tion.
Bookings on 911 127 632.
General Public: 13, 14 , 15 and
November 16.
The scientific glassblowing , by
Emilio Elvira blower technician.
Wednesday 13 , Thursday 14
and Friday 15 hours 10-14 and
17-20.
On Saturday the 16th from
10:30 to 14:30 h .
To see the blower is not neces-
sary to book in advance.
Workshops for families will be
on Thursday 14 ( magic bot-
tles ) and Friday 15 ( engraving
on glass), in two shifts : from 17
-18 h and 18-19 h .
Reservations are required by
calling 91 112 76 30 .
The museum tour will be on
Wednesday 13 , Thursday 14
and Friday 15 to 19h. Saturday
16 at 12pm.
Reservations on 91 112 76 30.
In addition, the Castillo Cultu-
ral Center Small (behind the
MAVA) joins the celebration of
the International Year of the
Sphere Cooperation UN Wa-
ter, scheduling an activity with
experiments, models and de-
monstrations on water be-
havior, qualities, functions and
overall water cycle in the na-
ture.
With the collaboration of Co-
llective Vitrium, Alart Associa-
tion and the Faculty of Che-
mistry, Complutense University
of Madrid.
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Página 12
www.amigosmava.org
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Dialogues Exhibition: Painting and photography.
After the first exhibition of "Dialogues" in which the sculpture with other types of materials re-
presented the view that some artists had parts MAVA collection, the Museum presents a se-
cond relationship works through painting and photography . Other Images
Other Images
Página 13
www.amigosmava.org
Projects for the National Glass Centre.
grated project that has exci-
ted the entire group . "
One of the first projects to be
undertaken by the new ma-
nagement of CNV Foundation
is the incorporation of the Ro-
yal Glass Factory of the Spa-
nish Network of Tourism Indus-
try ( RETI ) .
In a few days , according to
the head of the CNV , the
project started officially, with
the CNV as a member.
" This is another tourism boost .
We have an industry to be
seasonally adjusted , and en-
hance domestic tourism , not
only in summer and sun in that
aspect, the Royal Glass Facto-
ry has a lot to say. Spaces like
this can create a lot of inter-
est, both for visitors and for our
country from abroad", he
said.
Emilio Cabanes had an im-
pact on the opening of the
CNV " we are very interested
because it is an ideal platform
for us, a magnificent showca-
se . We want the Royal Glass
Factory again be known , and
is accessed within all cultural
and tourist itineraries".
The director insists that the
school is open , " and this year
more than ever , with the par-
ticipation of the multinational
SGD among its faculty."
" And within the calling to
open the school activity ,
what has been done is to add
entities and institutions that
we have much to say in the
world of glass education ," he
says.
This opening also passes
through collaboration with
companies and training with
practical commitments . " We
want to become a national
and international , and all tho-
se people who are trained in
this sector have their basis in
the CNV formation ."
In terms of production , the
objective is to value the tradi-
tional manufacturing eighte-
enth century style blown glass.
Emilio Cabanes stresses that
workers Glass Factory " are an
example of professionalism
and commitment , like all insti-
tutions , the City Council of
the Royal Place , the council,
and the rest , we have taken
with open arms . The project is
understood to be his, an inte-
An open, transparent and mo-
dern. This is the challenge that
has been labeled the new di-
rection of the National Glass
Centre Foundation ( CNV ) for
the Royal Glass Factory of La
Granja.
Since last summer, the Escuela
de Organización Industrial
(EOI ) took over management
of the Foundation, its new di-
rector, Emilio Cabanes , has
started working to make this
museum space , training and
production , in a national and
international glass sector.
"We have a very powerful mu-
seum , which currently recei-
ves about 40,000 visitors a ye-
ar , and thought it may be le-
verage for other activities. It is
open as a museum , more ex-
periential , more modern , and
for that we have the support
of the Ministry of Culture, to re-
work the museum and mu-
seum discourse that makes it
possible that reality , "says Emi-
lio Cabanes.
In his opinion, this vocation of
openness is also applicable to
other working areas of the Ro-
yal Glass Factory , the Glass
School and artisanal produc-
tion.
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Página 14
FARCAMA 2013.
As in previous years , the first
weekend in October opened
FARCAMA the XXXIII edition of
the Craft Fair of Castilla La
Mancha in Toledo.
This year , due to the ongoing
crisis affecting both public en-
tities as the guild of crafts-
men , the number of partici-
pants has continued to decli-
ne compared to previous ye-
ars.
Of a total of about 160 arti-
sans that we saw last year has
been about 80 this year.
The glass sector has been no
exception. In about six partici-
pants in last year's edition has
gone to four in this year.
Also in this edition have mo-
ved the booths of artisans of
the Fair to the outdoor terrace
of the Army Museum , reser-
ving the central courtyard of
the Museum for institutional
stands.
We followed noting absences,
among others, Montse Foglia-
ti , Antonio de la Torre , Mark
Arcos , Ana Ubeda , Natalia
Benchoam , Vitrale , etc.
We were able to greet Isaac
Perez -of deCristalia- Juan
Moreno - for Moreno Grisailles-
to Laly and Emilio.
They told us the difficulties they
are going through to get ahe-
ad in the midst of the econo-
mic crisis so extensive in time
we suffer , and have been ex-
pectantly at the result that co-
me in the transfer of the fair
from the fairgrounds to the
Museum Army.
It's still a shame that this impor-
tant craft fair is so drastically
reducing the number of its ex-
hibitors , since the quality of
our craftsmen is extraordinary
and it is necessary that the pu-
blic can enjoy their work
through the products displa-
ying.
www.amigosmava.org
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Página 15
www.amigosmava.org
The Royal Glass Factory at La
Granja ( Segovia ) opened
last October, the exhibition '
fractions ' of the sculptor ,
painter , draftsman and writer
Evaristo Bellotti, which pre-
sents objects of different ma-
terials at different times : Who-
le , broken or even reduced
to a pile of dust.
The show, which can be seen
in the Halls of Lights Glass
Technological Museum until
December 15 , aims to bring
the viewer a direct experien-
ce of the shape of objects ,
not only glass but also of pa-
per, plastic , shells egg , eart-
henware or cardboard.
A glass bottle found on the
beach serves paradigmatic
object of this experience.
The object, says the artist , ap-
pears with a clear and distinct
when it preserves its integrity.
When it breaks, its original
form survives in the broken
parts or disappears complete-
ly , depending on the degree
of disintegration of the frag-
ments.
The glass bottle itself , whole ,
in pieces or reduced to pow-
der , expresses three moments
of his identity.
But there is a fourth possibility ,
which is the ' Fractional ' try to
experience Bellotti.
" When the restorer recons-
tructs the broken glass bottle
and repositions each part in
place, looking back to its ori-
ginal shape . If successful, it
may be said that with the res-
toration has recovered the
bottle largely , if not entirely ,
its true form . not so in Frac-
tions " , sources from the Royal
Factory.
Thus, influence in the ' Frac-
tions ' Andalusian sculptor pro-
ceeds in an alternative way ,
reclassifying first and then ma-
nipulating the pieces of glass
bottle with other criteria.
Thus, when the artist proceeds
to reconstruct something else
with the remaining parts of
the original bottle , the shape
that emerges is not duplica-
ted in the same way , but the
report.
This unprecedented form
new, is one of many possible ,
radically different from the ori-
ginal and of itself.
The materials used in the ' frac-
tions ' are treated as if they
partake of the properties of
hardness and brittleness of
glass , which explains their ex-
posure in the windows of the
room lights Tech Museum of
Glass.
The exhibition will be from
Tuesday to Friday , Sunday
and holidays from 10.00 to
15.00 and Saturday from 10.00
to 18.00.
The artist
Born in Algeciras in 1955 , Be-
llotti moved to Madrid to com-
plete his training.
From the 80 , emerged among
the most outstanding sculptors
of the time.
His work from classical antiqui-
ty through the use of fragment
and motifs inspired by myt-
hology and Mediterranean es-
sence.
Enrolled in Post- Modernity, has
endeavored to renew the lan-
guages of sculpture.
His work has toured many ci-
ties in Spain , Europe and
North America .
Bellotti in La Granja.
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Página 16
Nativity, of Archímedes Seguso (I).
www.amigosmava.org
Article by Maria Josefa Almagro. MNAD.
The National Museum of De-
corative Arts has a nice Birth
glassware made by the fa-
mous Archimedes Seguso ,
Murano 1950s was composed
of eight figures that belong to
one and the same set , plus
another eight representing
angels in different poses des-
cribed here also with the abo-
ve because of its subject, but
as we shall see are somewhat
different in color and style
and even may not be of the
same firm.
The eight figures were acqui-
red at birth Mrs . Trinidad Gar-
cia del Cid through the Minis-
try of Education and entered
the National Museum of De-
corative Arts in Madrid in 1955
by a Ministerial Order of
03/28/1955.
The figurines of angels do not
have the same source or ci-
ted in this OM.
The museum lacks accurate
data on admission to the insti-
tution, but even if belonging
to the same birth we do after
a detailed description of them
along with the others, but first
we want to give the reader
oblivious to these issues , some
data on the artist who crea-
ted the work.
Archimedes Seguso was born
in 1909 into a renowned fami-
ly of glassmakers of Murano.
In 1932 , from the famous Art
Glass Barovier , Barovier Na-
poleone , Antonio Seguso
with their children and L.
Olympius Ferro, founded the
Soffieria and vetreria Ferro Ba-
rovier - Seguso and for a time
was also a collaborator Alfre-
do Barbini fellow teacher and
Artistic Director of the famous
Vittorio Zecchin.
In 1934 Flavio Poli replace Ze-
chin in office.
When in 1934 Barovier Ferro
and leave the firm , it beco-
mes the property of the Segu-
so family and renamed Art
Glass Seguso.
Archimedes , born as within
this family of glassmakers as-
sets , learned his trade in the
furnace of his father and from
his childhood , barely 11 ye-
ars , enthusiastically devoted
his life and his future creativity
to this art, becoming the 17
years in one of the younger
glassmakers of Murano in the
factory of his father.
There he worked on as a blo-
wer , part designer , sculptor
and researcher of glass, crea-
ting his own techniques and
always trying to improve the
product and the artistic quality
of the glasses.
One of his specialties was the
creation of many different ani-
mal figurines made of glass
called " massiccio " or solid ,
heavy glass very nonacentista
colors and style , which some-
times took dough in gold foil
powder , which gave the sa-
me qualities and particular as-
pect.
These figures designed , blown
and shaped by hand by the
artist, were very popular
among the public and someti-
mes imitated by other glass-
works on the island , so long
Archimedes received the title
of " master of animals " .
Maybe learn the technique of
self Barbini who in turn had
worked with Napoleone Marti-
nuzzi , which along with Ercole
Barovier were best known spe-
cialists in this type of esculturi-
llas .
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Página 17
www.amigosmava.org
Factory New Baztan (III).
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Página 18
N E W S (I).
Culture 2013.
Congratulations, Maria Eugenia!.
www.amigosmava.org
ze , for its part, the evolution of
painting during the nineteenth cen-
tury.
In 1801 , at the initiative of Napole-
on Bonaparte , created the Mu-
seum of Fine Arts with the order to
receive shipments of the State.
From 1890 , Wilhelm von Bode , Di-
rector of the Museums of Berlin , re-
casts the collection, which had be-
en completely destroyed during
the siege of Strasbourg , 1870.
This past October, and leveraging
our visit to the Biennale of Glass in
Strasbourg, visited the Museum of
Fine Arts.
Located on the first floor of the Pa-
lais Rohan , the Museum of Fine
Arts in Strasbourg displays a fasci-
nating overview of the history of
painting in Europe , from its begin-
nings to the 1870s , through a multi-
tude of canvases Italian, French ,
Spanish , Flemish and Dutch .
The early Italian and Flemish are
here represented by Giotto, Mem-
ling.
The Renaissance and Mannerism
are reflected in the works of Botti-
celli , Raphael, Veronese , Lucas of
Leyden and The Greco.Barroco ,
Naturalism , Classicism and the XVII
and XVIII are manifested through
paintings by Rubens , Vouet , Zur-
barán , " La Belle Strasbourgeoise "
of Largillière , Canaletto , Tiepolo
and Goya.Las Delacroix , Chassé-
riau , Corot and Courbet , will reali-
that contribute to the glass
sector growth.
This video was shown at the
VII Jornades of Glass of Ando-
rra on 6 October last, where
she was invited to participate
to discuss the blog: "Objects
with Glass, the first blog in
Contemporary Glass spea-
king".
On 7 page turned six.
On October 7, 2007 Maria Euge-
nia Diaz de Vivar created with
Glass Objects blog in order to
gather and have a clear and or-
derly all the information found on
the Internet and that had fasci-
nated.
The space grew and she with
him.
It generated a very wide network
of contacts that benefited all.
It is a space that gives visibility
and disseminates art glass curren-
tly in an active, not only virtual,
but with more than 40 events or-
ganized during the first six years.
Maria Eugenia thanks everyone
for escort and hopes to continue
to grow and create more events
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Página 19
N E W S (II).
Concerts in the MAVA.
www.amigosmava.org
Reciclamadrid 2013.
ded in concert last October.
As in most of our program-
ming, the collaboration of the
Fundación Miguel Angel Col-
menero is essential to develop
the concerts, and they know
and lend their support to nu-
merous groups of performers.
See you on the 15th.
ding suffered by the Conser-
vatory "Teresa Berganza" of
Madrid which informed the
soprano Marta del Barrio that
the concert had suspended.
The next day, November 15
we will have a new concert in
the Auditorium of the Museum
where we expect the same
soprano participating suspen-
With the concert held on Sep-
tember 20th will begin ente-
ring the last quarter of this year
of our activity "Concerts in the
MAVA".
The concert we had planned
last October 25 had to discon-
tinue with the public and in
the room for a misunderstan-
ven a new step, participating
in events and activities in
Spain and in other European
capitals throughout the year.
To celebrate its fifth anniversa-
ry edition Reciclamadrid the V
moves to Madrid Centre and
will be held in Atocha Neomu-
dejar, Vanguard Arts Center in
partnership with ADIF.
They will have as guest with
Italy through two associations,
and Remmade Riscarti.
The event will open on No-
vember 4 and will be open
until the 17th.
On Saturday, the 9th, the eve-
ning glass artists intervene Nu-
topia group.
Reciclamadrid in 2013 cele-
brates its fifth anniversary un-
der the motto "Art breaks
down barriers" and are ready
to make this a year when gi-
After the success in 2012, with
over 17,300 visitors and 2,476
participants in the Eco-
workshops, performances, ins-
tallations, films and seminars,
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The glass in Museums: Meisenthal.
After the extinction of Soucht
glass factory in 1700 , a group
of glassmakers in 1702 obtai-
ned the approval of Duke
Leopold I of Lorraine to settle
in Meisenthal .
Meisenthal is a French com-
mune in the region of Lorrai-
ne, Moselle department in the
district of Sarreguemines and
Bitche Canton .
The first glass of the new fac-
tory are the brothers Jean
Martin , Jean Nicolas and
Stephen Walter , Martin and
Sébastien Stenger Burgun ,
come factory five Soucht .
Rebuilt every building in the
glass factory during the nine-
teenth and twentieth centu-
ries , occupy the heart of the
village .
Behind the homes, the old ad-
ministration building with its ro-
of fairing , is occupied by the
glass museum since 1979.
The building was built in 1813
address ( the date indicated
on the pass door ) .
In the background, the great
hall, built in 1920 and renova-
ted in 1965 , is the last stage of
the expansion of the plant be-
fore final stops in 1969.
The old workshop built in 1859
is a long building and perfora-
ted angle with fireplace , ar-
ched windows on two levels,
the characteristics of the nine-
teenth -century industrial ar-
chitecture .
The interior is divided into two
floors , and the floors are sup-
ported by iron columns .
The shafts and pulleys, wheels
that powered the workshop
are still preserved .
Inside the hall , several annea-
ling furnaces , unemployed
since 1969 remain in force.
One of them, built around
1960 , runs on gas . It has twel-
ve refractory clay pots in
which glassmakers took the
posts to make their pieces.
The house of the master glass-
maker Walter Martin , built in
1803 and located at the en-
trance of glassmaking , is pro-
tected as a historical monu-
ment since 1996 . It is closed
to the public.
Located in one of the buil-
dings of the old glass factory
since 1981 , the House of glass
and glass covers the various
stages of the manufacture of
glass .
Glass reflects the ancient tra-
dition of the Bitche region ,
while the training school gla-
ziers, created on the initiative
of the Regional Park of the
Northern Vosges , allows the
art glass to find success in their
work.
Present achievements and
prestige projects signed by St.
Louis , René Lalique, Burgun -
Schwerer , Émile Gallé and ac-
quisitions in the Art Nouveau
style , as well as two beautiful
bowls made for the wedding
of plant manager Meisenthal
by Désiré Christian .
These cups have been recen-
tly acquired by the museum at
an auction in New York.
Located near the house of
crystal and glass , the Centre
International d' Art Verrier is a
unique production , display ,
transmission of knowledge,
creation and discovery .
It works for the preservation of
the traditional skills of glassma-
king and glass room , real in-
dustrial cathedral , exposed
each year various contempo-
rary artworks .
You can watch the glassblo-
wers at their activity, especia-
lly during the holiday season,
in which visitors are thousands
of Christmas balls made with
traditional craft form .
www.amigosmava.org
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Our web
Página 21
Olafur Eliasson. A view becomes a window.
www.amigosmava.org
Berlin, Germany , 2013 .
Editing only nine books and
two artist's proofs.
Height: 75 cm
Width: 58 cm
Depth: 17 cm ( closed book )
Height: 135 cm
Width: 60 cm
Depth: 100 cm ( stand )
A wiew Becomes a window ,
Olafur Eliasson , created to
Ivorypress , is a unique edition
of nine books .
Instead of pages , books,
bound in leather , containing
a variety of sheets of glass of
different colors , qualities and
degrees of opacity .
The pages are made of hand
blown glass in the center of
Waldsassen Glashütte Lam-
berts (Germany ) , one of the
few glass factories capable of
producing high-quality sheets
of this material.
Because they are handma-
de , the edges of the leaves
are irregular and each copy
has the imperfections of their
output.
The volumes , landscape for-
mat , are read with comfort
when resting on a lectern .
The book, whose size is remi-
niscent of an atlas , is full of
illuminations : the light is re-
flected , refracted and con-
ducted by glass pages .
When turning pages , layers of
colored glass create a multi-
tude of reflections , so that
the viewer becomes the pro-
tagonist of the narrative fun to
speculate .
Dichroic glass , used in the first
and last page , it creates a
shimmering effect that intensi-
fies the experience of the ob-
server .
Viewed against the opaque
background of the book, the
pages act as mirrors , but
however, when the light shines
through them , the effect
created is dichromatic translu-
cency , which reflects light
with a color that complements
that of the glass.
Ellipses and circles , straight
cut in some of the glass she-
ets , face frame while reader
turns the pages .
In the multiple reflections of
the book, look at how your
own image slides and fades
between pages and how it
grows out of them with crystal
clarity .
' A view Becomes a window ' ,
was exposed in Ivorypress ,
Madrid, from 19/09/2013 to
28/09/2013 .
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Página 22
The stained glass of the Cartuja de Miraflores (Burgos) (IV).
Del Boletín de la SECV.
3 . RESULTS AND DISCUSSION
3.1 Morphological Analysis
All samples showed signs of a
deep surface change .
In general, the outer faces of
the glass fragments ( outside
the building oriented ) condi-
tion showed much poorer
than the corresponding inter-
nal faces ( oriented inside the
building) .
The surface morphology of
the glass , which in normal sto-
rage conditions should appe-
ar almost smooth , made
numerous changes as strongly
adherent crusts , whose color
and length is variable depen-
ding on the sample .
On the outer faces of the
glass forming appreciated
crusts abundant dark brown
heterogeneous so intercon-
nected that virtually covering
the entire surface of the glass
(Fig. 1a, 1b) .
Also craters and pinholes we-
re observed (Fig. 1a , upper ) ,
also often interconnected
tanks filled crusts like appea-
rance .
In some samples , as in the
case of colorless glass M- 5,
the crusts had a whitish color
(Fig. 1c ) , while in others, as in
the case of colorless glass -
green M-7 (Fig. 1d ) , the
crusts were much darker and
compact .
The appearance of these
scabs indicates that may be
formed by an accumulation
of insoluble salts from the co-
rrosion products underlying
glass .
The inner sides of the glasses
had a better condition.
In many cases, only small pits
were observed and poor co-
rrosion deposits accumulation
(Fig. 2a , 2c) .
However, some samples sho-
wed signs of increased surface
change , in which we obser-
ved the appearance of irides-
cent thin layers (Fig. 2b ), so-
metimes covering almost the
entire surface (Fig. 2d ), which
can be attributed to the for-
mation layer of silica gel.
Said layers form after a pro-
cess of surface dealkalization
of the glasses when they are
subjected to a high percenta-
ge of relative humidity in sta-
tionary conditions , as it takes
place in the interior of buil-
dings when condensation of
water vapor are frequent and
prolonged.
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Página 23
Recycling. They screw Bottles.
We're going to Barcelona to
visit Tati Guimarães a Brazilian
designer that resides there
and whose striking coffee ta-
bles recycling have captured
our attention .
She has been awarded nu-
merous times for his interesting
projects that seek to generate
maximum sensory impact and
minimal environmental im-
pact.
Specialist in modern design ,
in 2012 took his collection Divi-
nus , consisting of an impressi-
ve array of tables made from
pine wood tables and certi-
fied reclaimed and reused
glass bottles .
As can be seen in the images,
Guimarães became glass
bottles on the legs of their ta-
bles.
" When I design beyond func-
tionality , beauty and sustai-
nability. Seeking versatile de-
sign objects that convey a
message , to interact with
people, excited and invite re-
flection , "explains the creator
Brazilian who heads the de-
sign studio Ciclus .
You can read more informa-
tion and pictures of his collec-
tion of elaborate tables using
glass bottles reused , in this link
as in this one.
We, of course, we rejoice and
make us think this kind of initia-
tives that will create useful and
eye-catching elements
through recycling and invite
all to seek your own ways to
give new life to our domestic
glass containers .
Also Green igloos on the stre-
ets are waiting for them to de-
posit bottles , glass jars and
bottles we want disposal and
recycling .
www.amigosmava.org
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Página 24
Glasses hispanic-roman.
In the stately mansions of Ro-
man villas tableware used a
refined character .
The glasses and silver foun-
tains reserved for special oc-
casions : receptions banquets
and Mr. gave his friends and
clients.
Every day , they used ceramic
and glass containers .
The latter, by its very fragile ,
often appear in the villages
reduced to tiny fragments .
However, the custom of de-
positing in the tombs oint-
ments and perfumes , as well
as meats and food for the
journey to the afterlife , has
allowed us as were the glass
vessels that the Romans used
to eat, drink and keep your
perfumes.
The organoleptic qualities of
glass allowed them to serve
and drink wine and not alter
the taste of it , and save wit-
hout these oily substances
evaporate or impregnate ,
which passed with ceramic
vessels .
At first , the glass was a luxury
product imported from the
East (Egypt , Syria and Palesti-
ne ) . But from the first century
BC , the diffusion of the blo-
wing technique allowed the
containers of this material
could make more easily , lo-
wering its cost , what made
them affordable to large sec-
tions of the Roman popula-
tion .
The glass workshops spread
throughout the provinces of
the Empire and the dishes of
this material became a com-
mon household product of
the Romans .
Bowls , cups and , to a lesser
extent , plates, went into pro-
duction with very simple tech-
niques in glass of mediocre
quality .
Despite this, not without de-
coration , consisting usually in
a few lines or frosted stripes .
Some vessels show a more
elaborate ornamentation ba-
sed depressions or with thre-
ads and applied glass cabo-
chons .
There were also containers
most sumptuous and expensi-
ve , with engraved decora-
tion , which were imported
from northern Gaul and the
Rhine area.
The vessels presented the Mu-
seum of Valladolid in the tem-
porary exhibition " Roman Vi-
llas of Valladolid" : jars with
handle or flared hemispherical
bowls , urns globular , phials
and ointment of narrow neck ,
goblets, " cruets " ... are made
of green glass yellowish .
Type containers are simple ,
because they come from rural
cemeteries in which were bu-
ried rustic villas workers valliso-
letanas the end of the Roman
period .
It is in times of so-called " Ne-
cropolis del Duero " ( although
today the better to speak of
cemeteries contain graves
with grave goods " type Si-
mancas -San Miguel del Arro-
yo " ), precisely because the
cemeteries located in these
populations vallisoletanas de-
posits were first this kind to be
investigated.
The temporary exhibition will
be open until the 9th of De-
cember this year .
www.amigosmava.org
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Página 25
ke visible to the public the
status of issues worked by
the Centre as well as groups
of the conclusions and pro-
posals for action that could
be carried out to improve
the projection of Spanish
contemporary art internatio-
nally.
It will be an open event to
be held at the National Mu-
seum Reina Sofia Art Center
and will be broadcast via
streaming on the Horizons
website.
the year of his second trip to
Rome, until his death.
From this period are some of
his most important paintings as
'Las Meninas'.
They are works in which is seen
as the Sevillian progressively
abandons the realistic line to
start his painting has been
painted with 'bold touches
that seem inconsistent from
nearby, but very fair and ac-
curate due to its distance', as
indicated from the gallery.
It is precisely this line so inno-
vative that many years after
decisively marked nineteenth
century painters like Édouard
Manet who studied his work
closely.
Besides the exhibition Veláz-
quez has other portraits that
were made in the Spanish
court at that time, and other
works of his disciples who con-
tinued their work after his de-
ath.
Artists like Deck or Carreño
who made their own contribu-
tions to the genre of portraitu-
re in their depictions of Mar-
garet of Austria Mariana of
Austria or Charles II.
In this november visit the ex-
hibition "Velázquez and the
family of Philip IV" at the Mu-
seo del Prado, Madrid.
The most important portraits
of Velázquez recent years in
addition to those made in his
environment and his disciples
to show the importance and
evolution of portraiture in the
Spanish court under the Sevi-
llian painter's artistic reign.
More than thirty works that
make up this exhibition is a
journey through the court por-
traits of Velázquez (Seville,
1599-Madrid, 1660) from 1648,
www.amigosmava.org
Horizons of Contemporary Art
in Spain, the Symposium with
the participation of different
actors in the contemporary art
scene today, and aims to ma-
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 2013.
Cultural Tours.
Culture 2013 Programme.
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On 27 and 28 November this
month participate in the Sym-
posium to be held at the Mu-
seo de Arte Reina Sofia.
A year after the first meeting of
Página 26
Bloggers in La Granja.
to cool to get the final pro-
duct .
They also had the luxury of
being themselves which wor-
ked glass, and each of them
could take home their own
piece made by their own
hands.
To finish a perfect way to visit ,
eat at the restaurant could Pa-
radores .
Fashion Beer , Alhambra
1925 , has launched a new
communication campaign
they called "Art to discover."
This campaign intended to ex-
pose artists and geniuses true
but not so popular disciplines
such as music or sports.
For the occasion, led a group
of bloggers to the Royal Glass
Factory of La Granja.
They were able to take a tour
of the Tech Museum of Glass ,
where they could learn the
history of how it works and get
this material in a very interes-
ting and amusing talk .
Later they could see first hand
how the glass works hand of a
true virtuoso and Diego Rodri-
guez, from catching a hot
mass of molten glass until you
blow into shape and allowed
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Página 27
The Lycurgus Cup.
www.amigosmava.org
The Lycurgus cup , exhibited in
the British Museum , dating from
the fourth century after Christ .
His relief carving depicting the
mythological legend of King Ly-
curgus and the triumph of Diony-
sus on this .
But hidden inside more than le-
gends , secrets of what is consi-
dered the most technically sop-
histicated glass before the mo-
dern era .
Nanotechnology is probably
one of the biggest milestones of
the past decades.
The explosion of technology has
allowed modern man to work
with systems in a hundred and
one billion times smaller than a
meter , where materials come to
particular properties.
But the beginning of nanotech-
nology data, at least for 1700
years and Lycurgus Cup is the
proof.
The glass dichroic glass has pro-
perties ; reflects green light and
transmits red light (Fig. 1) . But
what is this?
Chemical analysis of the glass
provides the following composi-
tion :
soda-lime- silica (like most of the
glass from Roman to present
day ) , 0.5 % manganese, traces
of other elements such as anti-
mony, about 40 ppm gold and
300 ppm silver .
Transmission electron microsco-
py revealed the presence of na-
sample are key to the reduction
of gold and silver and , conse-
quently , the formation , morp-
hology and size of the resulting
nanoparticles .
The glass molding temperature
and reduce metals and the at-
mosphere is also presumed to
process keys.
Plasmon metallic nanoparticles
gives an extreme sensitivity to
the local environment , causing
changes in its refractive index
(RI) .
The application of such proper-
ty, which is nothing more than a
sophisticated evolution of the
Lycurgus cup , allows excellent
use as biosensors.
This property provides the possi-
bility of , for example, quantif-
ying the antigen-antibody bin-
ding and kinetics , measuring
the concentration of ligands or
determine the molecular weight
of the metabolite together.
Fig. 3 shows one of the possible
configurations of sensors based
on optical properties of the na-
noparticles of gold and silver .
The process is carried out by
passing a beam of laser light on
a prism on which is deposited
one gold nano-surface which
are anchored highly specific re-
cognition molecules (generally
antibodies).
Binding to a specific ligand
changes the angle of incidence
of the light beam refracted on
the detector.
noparticles of between 50 and
100 nm.
X -ray analysis determined the
composition of them , gold and
silver in proportion 7:3 .
These tiny particles are responsi-
ble for the optical properties of
glass.
When light falls on small metal
nanoparticles can excite the
electron cloud collectively , re-
sulting dipole oscillations that
decay on time scales of 10-100
femto - seconds (Fig. 2) .
This movement is called reso-
nance localized surface plas-
mon ( LSPR for its acronym in En-
glish) .
This interaction with light produ-
ces different colors depending
on the composition , shape and
size of the nanoparticles.
This explains the green of the
glass, because silver nanoparti-
cles and red to gold .
But the most amazing thing of
this glass is to observe the condi-
tions necessary for its produc-
tion : The color depends on the
precise concentration of nano-
particles , and in turn those of
the silver-gold ratio ( 7:3 ) .
Is thought to be antimony (using
at the time as bleach and opa-
cifying glass ) present in a pro-
portion of 0.3% , the reducing
agent necessary for the forma-
tion of nanoparticles .
The oxidation reduction poten-
tial of the different species in the
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Página 28
Other trends. Painting Prize.
In the Berlin Hamburger Bahn-
hof, coinciding with the week
in which art - fair takes place
abc , focusing on emerging
production , and in which ga-
lleries and museums inaugura-
ted - season , was released ,
with a significant deployment
of resources the winning na-
me Preis der Nationalgalerie
für Junge Kunst , an award
that seeks to spread the pro-
duction of artists under forty
years , of any nationality , who
reside and develop his work in
Germany .
The four nominees were the
Cypriot Haris Epaminonda ,
Germany's Kerstin Brätsch ,
New Zealander Simon Denny
and Mexican Deball Mariana
Castillo , whose works were
presented in an exhibition that
will run until January próxi-
mo12 in the HB .
The jury was composed ,
among others, experts like Ok-
wui Enwezor , Luis Pérez- Ora-
mas , Udo Kittelmann and Kit-
ty Scott .
The winner, Mariana Castillo
Devall , already has an impor-
tant trajectory since has parti-
cipated in the Venice Bienna-
le , Mercosur , Lyon and São
Paulo .
His work addresses issues rela-
ted to colonialism and inter-
sect it social, cultural and poli-
tical rights emanating rerea-
ding critical forms of history ,
served for the work now pre-
sented forms of domination
exerted on pre-Columbian
populations - in the recons-
truction of the first large-scale
map of the Aztec city of Te-
nochtitlan conducted by
Hernán Cortés in 1524 , later
printed in Nuremberg , as if it
were a huge carpet covering
the entire floor of the room ,
made of wood and evoking
the woodcut method used in
printing that map , Castle De-
ball uses that path to put in it
elements that play costumes
and costumes used in carni-
val parties still areas of Mexico
and Morelos , where traditions
merge Aztecs with the coloni-
zers , combining indigenous
identity symbols with the inva-
der.
Alongside the work of Castillo
Deball shown that of the other
three finalists , Kerstin Bratsch
used experimentally pictorial
medium and from a psycholo-
gical standpoint , using diffe-
rent media , such as paper ,
glass or transparencies , where
light becomes the determining
factor.
Alongside this work perceptual
order , Haris Epaminonda ex-
plores the moving image
through a fragmented langua-
ge , stories nonlinear integrate
their videos that talk about
cultural identity from a more
emotional than political.
Far from this language places
the work of the Zealander Si-
mon Denny , focusing on the
analysis of media and where
dissected the signs , slogans
and gestures present in the
speeches emanating from the
media.
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Página 29
www.amigosmava.org
The Czech glass industry.
The Czech glass industry recor-
ded a revival. Thanks to have
oriented towards a new range
and the use of new technolo-
gies, managed to recover
from the deep crisis that affec-
ted him for about four years
and its products are now ex-
ported to various parts of the
world.
About 4 or 5 years is provided
to the glass industry in the
Czech Republic .
The interest of customers for
glass products was declining
sector and several companies
had to close , and that the
market was flooded with che-
ap glass products from Asia.
However, the sector is not
completely gone , and thanks
to new ideas, excellent profes-
sionals and the long history of
the glass industry in the coun-
try, it soon recovered and be-
gan to flourish , says Vlastimil
hotar , Technical University of
Liberec , who recently presen-
ted a detailed sector study
confirming his words .
" The Czech glass industry is cu-
rrently well off unlike other Eu-
ropean countries where this
sector recorded a marked re-
duction in the profits and for-
ced to lay off many of the
workers. In the Czech Republic
the opposite occurs in the last
two years , increasing profits
and seek new professionals.
The crisis affected the glass
sector in a very strong, his fall
was sudden , so that the cu-
rrent boom is all the more ob-
vious. "
The measures applied in the
glass sector that led to its re-
covery lies in the radical chan-
ge in the supply of products
and the use of entirely new
technologies for manufactu-
ring, says Vlastimil hotar .
"The main change lies in what
is manufactured . In the early
nineties , typical supply glass
products including jewelery ,
decorative and industrial . In
2012 the production focused
on technical glass , ie , glass
fiber , flat glass and packa-
ging , and continue along that
path. Many people do not
even record that certain pro-
ducts are made of glass . "
The product offering is really
varied and includes screens
for phones and computers ,
mirrors , chandeliers , packa-
ging for yogurt and milk as well
as for example, elements of
luxury automotive glass and
glass jewelry.
Many of the products are for
export .
Several African countries de-
manded Czech glass beads
for making necklaces traditio-
nal African popular , these
being higher quality than tho-
se made in Asia.
In the Czech glass industry cu-
rrently employed some 17,500
people.
nalysts predict that the indus-
try will soon need more techni-
cians, workers and other highly
qualified personnel , which in
this country , with a long tradi-
tion window should not be a
problem.
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www.amigosmava.org
The Bishop's Palace Museum
of Segovia has been opened
in a building historic late eigh-
teenth century , residence of
the bishops of the diocese un-
til 1969 , located in the Plaza
de San Esteban of the capital,
a few meters from the Plaza
Mayor , and remained closed
for nine years .
The museum occupies the first
floor of the building , the furni-
ture, together with its distribu-
tion and original function is
preserved .
The collection consists of three
sets, one of the Zuloaga cera-
mic , glass and other glass
from the Royal Factory of La
Granja and a third of religious
art of the Diocesan Museum of
Segovia.
The glass sample , which brings
together nearly 300 works, is a
tribute to the work of collec-
ting for years played the em-
ployer Segovia Eleuterio Lagu-
na .
The exhibition is organized
chronologically by periods or
styles .
Baroque Period (1727-1787)
Laguna- Lomillos The collec-
tion features important exam-
ples from this era , we high-
light several jars , glasses and
cups engraved and gold , a
briefcase with all necessary
glasses inside to make a " stop
along the way " , a major spi-
der lamp , and several cornu-
copias .
Classicist Period (1787-1810)
This exhibition brings together
a number of pieces ename-
led and gold of this era , some
of which exceptional quality
and gold glazes such as the
golden cup of the Infanta
Maria Amalia and several ga-
rrafillas and glazed vessels
with bucolic scenes and other
floral motifs.
We also emphasize its excep-
tional rarity garrafilla emerald
green glass and carved gol-
den .
Empire period (1815-1833)
Work of singular importance
disclosed in the sample is a
glass plate églomisé , engra-
ved on gold signed by Salva-
dor Duchen framing the bust
of Queen Mother Elizabeth
Frances Braganza , wife of Fer-
dinand VII . Also highlight seve-
ral lamp - spiders and other
cobalt blue glass pieces of
unique beauty.
Historicist Era ( 1833- late XIX
century )
The collection shows several
glasses and souvenir glasses
engraved and decorated with
motifs carved on their fore-
heads bearing commemorati-
ve motifs typical of the Palace
of La Granja.
Besides the famous opal ena-
melled with floral motifs that
might be fashionable at this
time .
The glass in the Episcopal Palace of Segovia.
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Takahiro Kondo: Light and Water Sculptures.
Water is a recurring element in
representations of different ar-
tists .
The fluidity and transparency
of the liquid has tried to cap-
tured in more than one work ,
but never with as much fidelity
as Takahiro Kondo Sculptures .
Kondo is the fourth in a family
of potters recognized in Kyo-
to , Japan.
His work has been fascinated
by the realism with which
transforms ceramic with a
transparent element such as
water movement through the
use of solid materials .
To achieve this effect , applies
Kondo glass on porcelain figu-
res , to later use drops of silver,
gold and platinum on objects
of different shapes .
The result Reflections emerges
in series , which shows that se-
em sculptures formed by
drops in danger of altering
their shapes with light touch
of wind.
In 2011 the artist wanted to
pay tribute to victims of the
nuclear disaster in Fukushima.
Its first installation , Hotaru , Ja-
panese for firefly, reminded
over 20,000 earthquake vic-
tims who were nine degrees
on the northwest coast of Ja-
pan .
The purpose of this facility is to
make 20 000 figures represen-
ting each of the souls of the
victims .
Each glows in the dark and this
glow comes from uranium
glass placed in a square glass
vase , which represents water
contaminated with nuclear
material used for the produc-
tion of energy.
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"Sounds of the fire".
The visual arts , painting ,
sculpture , volume , color ,
blended into an arpeggio of
colors to bring Santander
(Colombia) the exhibition "
Sounds of Fire " by sculptor
Daniel Castillo Santander .
With exquisite handling glass
fusing technique , Castillo was
in charge of an art exhibition
that was at the height of musi-
cal art XXX International Piano
Festival in Prada Rafael Ardila
room of the UIS.
Daniel Castillo Serrano is a
professional stained glass artist
and glassmaker born in Buca-
ramanga.
His first steps with stained glass
and gave in Venezuela and
then traveled to different
countries to improve their
technique .
For 8 years living and working
in their studies in Canada ,
where he has received seve-
ral Grants or cash provided by
the government to develop its
work on specific projects .
" The show that brought you
here is molten glass or fused
glass . A technique that hand-
les the glass at high tempera-
tures to transform depending
on what you want to achie-
ve . Depending on what you
are looking for, the tempera-
ture and baking time may va-
ry . "
For colors using enamel or
metal oxides , and other glass
and comes ready to melt , is
a processed glass in special
houses in the U.S. and Europe.
In his workshop has several
high-tech ovens where glas-
ses are carried at temperatu-
res ranging between 600 and
850 degrees Celsius.
" Actually, in Colombia is unk-
nown the use of glass and I
think in some ways cultural en-
tities have relegated it becau-
se I do not know . I think that 's
why , because in Europe and
the United States is part glass
art galleries accept them, any
gallery " .
The shapes and creativity
The artist says: " I love the geo-
metry. I have been studying
contemporary art through ki-
netic art , I delved into kinetic
art using glass, not any artist
does . "
Regarding Traditional Stained
Glass explains that " as an artist
simply cuts glass and unites it
with lead solder. This technique
is very flat because it allows vo-
lumetric work , which is the dif-
ference with glass fusing . But
also be achieved through flat
volumes , as some I did for Gar-
den Hill about 18 years ago . "
Through the glass normally ma-
de plates, trays , handicraft " us
and tell us glassmakers artisans
and craftsman I am , but we
are all artists and artisans who
want to say it's only artist, does
not know what the story.
When I returned to Canada I
decided to finish this piece.
Three planes are actually pia-
nos , since I think at the festival,
and she gave the name to the
exhibition : ' Sounds of fire ' . For
me it is one of the most beauti-
ful .
I not only proposed that piece
they chose as a symbol ; also
proposed three pieces , which
are pianos are piano scales .
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Tutankhamun awakens in New York.
An exhibition of some of the
objects found in the tomb of
Tutankhamen expected rea-
waken interest in the young
Egyptian pharaoh in New
York , where a similar sample
passions unleashed three de-
cades ago.
Under the name " Tutankha-
mun and the Golden Age of
the Pharaohs " exhibition , pre-
sented by Exhibits at Discove-
ry Times Square in Manhat-
tan , New York gives the first
opportunity since 1979 to me-
et with Egyptian treasures de-
tail with which was buried the
legendary pharaoh.
A curious artifact in this exhibit
is a beetle amid one glass
pendants Tutankhamun .
It is a size that has interior ligh-
ting .
The only place of origin of
such glass can be found in
the Sahara desert.
Scientists believe it may have
originated from a meteorite
that fell to earth in ancient ti-
mes, but no crater to test this
theory . So the mystery re-
mains : where does this spe-
cial glass ?
A multidisciplinary team of
South African scientists finally
unraveled the secret of these
glasses and thus , the first test
was ever known of a comet
impact on Earth.
The results were published in
the journal Earth and Planeta-
ry Science Letters and presen-
ted at a conference at the
University of Witwatersrand
South African .
There are many known cases
of meteorite impacts on Earth.
On the contrary , never found
remains of comets , except
for some dust particles at high
altitudes in the atmosphere
and certain carbonaceous
residues in the ice of Antarcti-
ca .
"Comets always visit our skies ,
are these dirty snowballs , ice
mixed with dust. But never be-
fore in history has a comet
material found on Earth , "said
study co-author new David
Block of Witwatersrand.
The work of Kramers , Block
and colleagues is not limited
to explain the crystallization of
the sand , but it reveals an ex-
traordinary find, a comet frag-
ment that caused the pheno-
menon .
His work has focused on a
mysterious black pebble found
an Egyptian geologist for years
in a silica glass southwest of
Egypt.
At first thought it might be of
an unusual type of meteorite ,
but chemical analyzes perfor-
med on the stone discarded
one by one all assumptions .
It was not terrestrial carbon or
meteoritic rock , yet without
question certain isotopes poin-
ted to an extraterrestrial ori-
gin .
Was only one explanation at
hand the first macroscopic
specimen from the comet nu-
cleus .
Kramers excitedly recalls the
moment : " It's the typical
scientific euphoria , when you
remove all other options and
get convinced of what should
be."
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Página 34
How does.
This month we include some pictures of the technique practiced by François Daireaux.
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The glass in Ecuador.
www.amigosmava.org
The Iranian sculptor Tarasieh
Werle - Vahdat , presents his
works in glass in the exhibition
" A sea of light and mysteries."
The sample consists of 50 pie-
ces representing a variety of
issues ranging from human
rights to the rights of women
and their role in the promotion
of human creativity .
For the artist , the intention to
address these issues through
art is to make a warning
against the current situation in
the world " even countries
that claim to have human
rights not being applied , the-
re are countries where reli-
gious persecution very severe
as mine , "says Werle - Vahdat
and adds that while respec-
ting the rights not set " no pro-
gress in humanity " .
Part of the exhibition is the ex-
hibition entitled " Our forests " ,
which reflects the destruction
of forests by human greed .
Technique and creativity
The sculptures are mostly ma-
de of glass using techniques
such as blown glass, fused
glass , glass paste , among ot-
hers that the artist has combi-
ned with materials such as
marble , stone and wood,
which results in exquisite figu-
res that create optical illu-
sions, a mixture skill , dexterity
and creativity.
Some of his other sculptures
are abstract and figurative ,
but all touch enclose dreamli-
ke memory , personal history
and preserves the artist.
About the Artist
Werle - Vahdat Tarasieh born
in Azerbaijan , Iran .
His studies in arts were con-
ducted at the Central Universi-
ty of Ecuador and then in the
Glass Department of California
College of Arts and Crafts ,
Oakland and Pilchuk School of
Glass , Stanwood , Washin-
tongton .
He came to Ecuador for over
three decades.
The exhibition has been to Qui-
to and from 1 October in Loja ,
in the Museum of Archaeology
and Lojanidad of UTPL , where
he remained a month, then
expected visit other cities.
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Verallia invests in its plant in Burgos.
Verallia , a subsidiary of Saint -
Gobain group leader in the
production of glass containers
for food and beverages conti-
nues to invest in innovation
and sustainable development
through the modernization of
its factories.
So , has filed with its major cus-
tomers , suppliers and local
authorities the new furnace
and improvements at its plant
in Burgos.
D. Juan Vicente Herrera , pre-
sident of the Junta de Castilla
y Leon discovered the plaque
commemorating the event
with D. Emmanuel Auberger ,
CEO of Verallia Spain and Por-
tugal and D. Ricardo Ramon ,
General Delegate of Saint -
Gobain to Spain , Portugal ,
Morocco , Algeria and Tunisia.
D. Auberger Emmanuel said
that " Verallia sector invest-
ment leads with about 70 mi-
llion euros in the period 2012-
2014. Such investments are in-
tended to Verallia more com-
petitive and more flexible ,
continuing its commitment to
sustainable development. "
The company has invested
more than 6 million in Burgos
intended to increase safety,
quality and sustainability of
the factory.
His work consisted mainly in
the melting furnace repair
that feeds 4 of the 7 produc-
tion lines.
Additionally, we have imple-
mented a number of reforms
in the facilities that make up
the main areas of the process,
such as Raw Materials, Fusion,
Hot Glass (manufacturing)
and Cold Glass ( inspection
and palletizing ) .
The investment confirms our
commitment to sustainable
development Verallia , redu-
cing the consumption of virgin
raw materials to optimize the
ability to consume recycled
glass , reducing the consump-
tion of energy and fossil fuels
and therefore minimizing CO2
emissions to the atmosphere.
Moreover, these reforms en-
hance the ergonomics and
safety of Burgos Verallia facili-
ties and thus the working con-
ditions of its workers , provi-
ding greater flexibility and
agility in responding to their
customers.
During the opening ceremony
was attended by local and
regional authorities , as well as
a significant number of custo-
mers, especially in the wine
world , who supported an ini-
tiative that strengthens lea-
dership and ensures Verallia
industrial jobs and the presen-
ce of Castilla y León glass
company adapted to local
needs , a key element of its
industrial structure .
Burgos Verallia factory is spe-
cialized in the production of
wine and spirits bottles and
accompanies the wine sector
in their efforts to differentiate
themselves and gain market
share in international markets .
Verallia
World leader in the fields of
glass containers for wine, spirits
and food, occurs every year
more than 25,000 million glass
bottles and jars for its more
than 10,000 customers spread
over 46 countries around the
world .
It is the brand under which en-
compasses the activity of pac-
kaging the Saint- Gobain
Group worldwide.
In Spain , it is leader in its field
and has six factories in the Ibe-
rian Peninsula.
It also has a joint- venture fac-
tory in Telde, Gran Canaria , to
serve markets in the Canary
Islands.
Verallia Spain is also the first
consumer recycled glass Pe-
ninsula (known as cullet in this
sector) .
The high use of cullet a decisi-
ve contribution to improving
the environment , saving ener-
gy, raw materials and redu-
cing CO2 emissions to the at-
mosphere as well as waste
that goes to landfills.
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www.amigosmava.org
Llodio Guardian has manu-
factured the glass of the new
headquarters that will share
the Police and Fire Municipal
de Bilbao in Bilbao district Miri-
billa .
Once the work these days is
witnessing the end of the mo-
ve to the new building , a
complex operation that invol-
ves the relocation of nearly
800 municipal police , moving
your belongings and the trans-
fer of files and computers .
The new facility has two
blocks linked by a bridge
which occupy a total of
15,000 sqm plot in Miribilla .
Both have large windows with
glass built Sunguard SN 70/41 ,
manufactured by Guardian.
It is a type of glass art with a
neutral whose high-tech layer
ensures high light transmission,
excellent thermal insulation
and an effective sunscreen .
This glass represents a revolu-
tion for its effects enhanced
thermal insulation , a perfect
combination of low emissivity
and solar control to reduce
heating costs in winter and air
conditioning in summer , allo-
wing the passage of natural
light.
Guardian and his glasses are
synonymous with energy effi-
ciency for their contribution to
sustainability.
And all thanks to a last gene-
ration magnetron layer that
discriminates between diffe-
rent wavelengths of solar ra-
diation.
Most of the infrared radiation ,
which would increase the tem-
perature inside the building, is
reflected to the outside, wit-
hout restricting the passage of
light .
Guardian Glass , a subsidiary
of American Guardian Indus-
tries , is engaged in the manu-
facture and processing of
glass.
From its headquarters in Llodio
(Alava ) , managed the inte-
rests of the company in Spain ,
which are articulated into
three companies: Llodio Guar-
dian , Guardian and Guardian
Express Tudela .
Guardian in Bilbao.
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Expressing a medical (III).
friends . I lent the car when I
went to wash my clothes to
laundry and grocery shop-
ping . And the kinds of glass
were as expected , "he re-
calls .
Learned new techniques and
tools had a workshop and felt
that the roles were reversed :
now he sent to glass and glass
to him. And that was reflected
in his work.
Penland School of Crafts
In addition to Seattle , Dr. Sai-
tua enrolled in a course at the
prestigious Penland School of
Crafts in North Carolina .
Had Italian master classes with
Emilio Santini . There were fe-
llow artists hundred percent
dedicated to art.
Account that opened his mind
and the things he did " were
terrible next to the creativity of
my fellow artists ."
They helped him , drove him
and took seriously their interest
in learning . It was young peo-
ple who did not know he was
a noted surgeon in Chile.
" I was one over there. I had
this feeling that nobody cares
if you arrive or not , that nobo-
dy cares if you said you did
not say one thing or another .
There had to be worried about
the protocol. For me it was
fantastic. "
Those months are defined as "
the luxury of my life."
.. / ..
The change in routine
For Dr. Francisco Saitua have
a passion leads to develop ,
study and improve .
It means going where tea-
chers, allocate time, resources
and stop accumulating profits
to gain in other areas and
thus grow holistically.
" Finding yourself at that age,
at 48 years , two months alo-
ne with yourself , it is very rich.
It was a distinct super routine .
No cell . He had a small apart-
ment with living room, living
room, bathroom, kitchen and
bicycle. "
He says he understood some
things without that trip would
not have been possible.
Among them , how bad they
used the holiday , which
could not disconnect from
their work.
In Seattle internet forgot to
check the time and dropped
the phone.
Disconnection and break him
to a permanent state of men-
tal happiness .
"I was in another . With the
hostess became very good
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Smart glass in Israel.
Upon entering the elevator of
Aish HaTorah in the Old City of
Jerusalem , they never suspect
you are about to experience
the future of glass technology.
But as it rises from the first to
the fifth and last floor , the
walls are transformed gradua-
lly and what seemed at first to
be solid and opaque to com-
pletely transparent.
When the elevator finally co-
mes to a standstill on the roof
of the building, which is su-
rrounded by crystal clear and
breathtaking view of the Wes-
tern Wall .
The glass used in the transfor-
mation of Aish HaTorah lifts li-
quid crystal consists art deve-
loped by Diaphanous, an Is-
raeli company that is revolutio-
nizing the way glass can be
used in all types of construc-
tion projects ( from the win-
dows of the offices that can
be adjusted with the touch of
a button, to refrigerators that
go transparent green so you
can see what's inside without
opening the door waste ener-
gy ) .
Sheer seems to be right : The
company has just raised $ 4
million British company Sollan-
ge Investments .
Sheer plan to use that money
to open a factory in Israel for
the production of its special
liquid crystals and the first of
its kind in the Middle East . Al-
so plans to double its current
staff of ten to make way for
the new line .
Hotel rooms and cars
Diaphanous builds a speciali-
zed control system for genera-
ting an electromagnetic field
passing through the same ty-
pe of liquid crystals that make
up today's television sets and
computer screens . This chan-
ges the amount of light that
liquid crystals can not pass up.
The crystals were then placed
on a sheet and laminated bet-
ween two pieces of ordinary
glass , which can be cut up
and sold in the same way as
ordinary glass.
The opacity dialing can be
done through a device as sim-
ple as a damper mounted on
the wall or as a sophisticated
touch screen unit with advan-
ced synchronization options
and color .
The range of applications is
impressive.
You can imagine a hotel room
where the bathroom and be-
droom are separated by a
transparent glass wall control.
If you want privacy , it beco-
mes opaque , if you want a
feeling of spaciousness , more
transparent .
Or how about the back seat
of a car? The driver can provi-
de sun protection for children
sitting in the rear.
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Lucie Lucie Koldova created
products , design furniture ori-
ginating in the Czech Repu-
blic .
After graduating from the
Academy of Arts , Architectu-
re and Design in Prague in
2009 , he moved to Paris and
worked in the studio Arik Levy.
He worked as a furniture de-
signer and continued while
developing his own creations
for different companies .
Lucie established his own stu-
dio in Paris in 2012.
She appreciates the influen-
ce , inspiration and different
cultures merged is in Paris
where he worked for interna-
tional clients.
Lucie produces furniture ,
glass sculptures and eternal
lights .
Lucie uses technologies with a
primary focus on basic mate-
rials like wood and glass.
He enjoys working with unu-
sual proportions and contra-
sting colors .
In 2010 in France , began to
develop successful with glass
pieces Muffins and Ballons
calls for a traditional Czech
manufacturer : Brokis .
Since then continues to work
with glass and enjoy experi-
menting with different light
sources and materials , always
taking fascination with various
glass blowing techniques .
Lucie Koldova, passion for glass.
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Página 41
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
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Line of research. Images.
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Fig. 2
Fig. 3
Página 43
Stained glass in Miraflores. Images.
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Fig. 2
Página 44
Exposition. Images (I).
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Exposition. Images (II).
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Lycurgus cup. Images.
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Fig. 2
Fig. 3
Página 47
Dialogues. Images.
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