Volume II — Number 100
June 2017
Monthly Newsletter
Newsletter
Javier Gómez A good achievement.
M. A. Carretero.
the pages 5 and 11 of this Yes, I think it is a good achievement to have been Bulletin. able to edit the 100th issue Francisco Capel del of our Bulletin and to be present every month since Águila, an outstanding its inception, except for the researcher, member of the month of August of each of CSIC and of our the nine years that have Association. already passed. Jesús María Rincón, It has required a good dose former president of the of effort but, above all, an Spanish Association of illusion to be in the Scientists, researcher, company of our readers member of the CSIC and monthly. our Association, among And this important edition of other merits. our Bulletin had to be devoted, as it could not be Cristina Giménez Raurell, author of several books on otherwise, to two important glass and recently Spanish glass artists. presented at the Museum On the one hand, and in the of Decorative Arts in section of "Artists Madrid her doctoral thesis consecrated", to honor our "Sculpture and glass: Honorary President Javier Spain (1975-1995). New Gómez, one of the best Glass Movement "; artists of laminated glass that exist worldwide. Mª Ángeles Villegas Broncano, outstanding And on the other hand, in researcher of the the section of "Emerging Department of History of Artists", the young master Art and Heritage. Institute of the blown glass and one of History. CSIC and of the props of the Royal Nuestra sede: specialist in glass subjects. Glass Factory of La Granja Castillo Grande de (Segovia), Diego S.J. de Valderas Paloma Pastor Rey de Avda. Los Castillos, s/n Rodríguez. Viñas, Director of the 28925 ALCORCÓN. Technological Museum of And to celebrate this 100th (MADRID) Glass. edition we have counted on info@amigosmava.org the disinterested All of them have wanted to collaboration of important be present with their personalities of the glass respective collaborations in world of our country and this special issue of our that we present between Bulletin and, on behalf of the whole Board of our Association, I thank you in a very special way.
the existence of our Museum, work that should also be done by the institutions of our Municipality but, It is not like this. Another objective is the diffusion of the culture of art in glass in our country, since it is obvious that our fellow citizens do not know this material and its artistic possibilities. One has only to observe how easily the glass is confused with the glass and not only at the level of the average citizen. For this reason, most of the pages of our Bulletin contain news related to glass aspects that we have been collecting from the publications of different media during the month prior to the edition of each of our numbers. In other pages we inform of our visits to the different glass workshops, both national and international. In the section of "Culture" we inform of our visits to different Museums or other events related to CULTURE in general. Recycling also has its place to put our grain of sand in the attempt to expand the culture of our fellow citizens for this important activity.
Given the scarcity of resources we have, we can not edit this Bulletin on The main objective of this paper, as would be our Bulletin, since the beginning desire, and therefore we of its publication, has been have to edit it through the and continues to be to make channels that the Internet known as widely as possible offers us for free.
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Important issue: QUALIFICATIONS GLASS AND CERAMICS (I) MAC.
Volume II — Number 100
June 2017
S PE C I A L I NT E R E S T:
Part of the month
Collaborations
Find in the Museum
Interview
Activities on the MAVA
News
Our activities
Glass recycling
How does
Order PRA / 259/2017, of 17 March, updating five professional qualifications of the Professional Family Glass and Ceramics, collected in the National Catalog of Professional Qualifications, established by Royal Decree 295/2004, of February 20, And Royal Decree 1228/2006 of 27 October.
CONTENIDO:
Piece of the month
3
Established artists
4
Young artists
4
Collaborations
5
Find in the Museum
13
Interview with Jan Fabre
14
Activities Museums
15
Activities on the MAVA
16
Tvitec in Marrakech
17
The glass blower
20
Factory of Valdemorillo
21
Audit Report
22
Roman glass in Museums
23
News
24
Culture 2017
24
Design capital
25
For tap water
25
The glass in museums
26
Recycling
27
Cultural visits
28
Culture 2017 program
28
Director of Tvitec
29
Other trends
30
and actions necessary to promote and develop the integration of vocational training offers, through the National Catalog of Professional Qualifications, as well Such as the evaluation and accreditation of the corresponding professional competencies, so as to favor the professional and social development of the people and to cover the needs of the productive system.
Article 5.3 of Organic Law 5/2002, dated June 19, attributes to the National Institute of Qualifications the responsibility to define, elaborate and keep up to date the National Catalog of Professional Qualifications, as a technical support body to Organic Law 5/2002 of the General Council Of 19 June on Professional Training, Qualifications and whose regulatory Vocational Training aims The National Catalog of development is set out in to organize an integral Professional article 9.2 of Royal Decree system of vocational Qualifications, as 1128/2003, of September training, qualifications indicated in article 7.1, is 5, which regulates the and accreditation that created with the aim of National Catalog of responds effectively and facilitating the integrated Professional Qualifications, transparently to social nature and adequacy establishing in its Article and economic demands between vocational 9.4, the obligation to keep it Through the various training and the labor permanently updated By formative modalities. To market, as well as lifelong means of its periodical this end, it creates the learning, mobility of review, which must in any National System of Workers and the labor case be carried out within a Qualifications and market. This catalog is period not exceeding five Vocational Training, constituted by the years from the date of defining it in Article 2.1 qualifications identified in inclusion of the qualification as the set of instruments the productive system in the catalog.
URGENT NEWS
Amendments to budgets. IU, José Ángel Frías, detailed the improvements corresponding to the province of Segovia, 38 out of a total of 732 amendments "designed to defend public services and employment, protect the social majority of Castilla y León and stop the depopulation".
The Museum of Tomorrow 31 They prefer glass
32
Lanterns for Ramadan
33
Paint with light
34
The Venice Biennale
35
How do
36
Fostering equality
37
Museum of Memory
38
Rupert's Tears
39
Saint Gobain in Mexico
40
Glass and rugby
41
Glass in boats
42
Fold glass
43
Glass is life
44
Glassware in Bolivia
45
Rosa Barba in the Retiro
46
Board Of Directors
47
and by the training associated to them, which is organized in training modules.
After Podemos and the Socialist Group, Izquierda Unida - Equo has also submitted its amendments to the General Budgets of the Community for this 2017. The provincial coordinator of
Among the amendments presented is to provide a € 600,000 item to improve and support the National Glass Center of La Granja, as a key part of the municipality and the entire province. We hope and wish that this amendment for the good of this unique vitriero center will be admitted.
No response from the Department of Culture.
17-01-13. Requesting inventory of the components of the permanent collection of MAVA.
11-06-13. Possibility of receipt by the MAVA documentation on glass offered by the President of the Spanish Association of Science.
11-11-13. Requesting information on the agreement with the Community of Madrid to install social services in the MAVA.
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Piece of the month. José Fernández Castrillo.
Volume II — Number 100
June 2017
The Cathedral of Leon marked his childhood. He is the last master glassmaker of the Cathedral of the Sea.
name to the chapel of the cathedral where he placed his stained glass Fernandez Castrillo.
Since then he has been investigating the secrets of glass.
Its stained-glass windows are also in the Bayer building and the This 69-year-old Leonese native Clinic in Barcelona. The Leonese Figure in the main handbooks of of Regueras is a benchmark in artist has not only clung to stained glass, including the the world of stained glass, as stained-glass windows for historic 'Bible' in this area, The Spanish creator of an art with which he buildings, but has also made window, by Nieto Alcaide. numerous sculptural works and renewed a trade of centuries. exempt stained-glass windows, Leonese José Fernández "I imagined things I did not see Castrillo, who lived at the age of made." Thus began to develop a such as those he has in the Radio Museums of Roda de Bará eight in Barcelona - "although I technique that a critic of La and Ponferrada, commissioned studied 5th grade in the Vanguardia defined as by the Leonese journalist Luis del Agustinos de León and 6th in 'vitrography' and that Castrillo Olmo. Astorga", he says, he does not used in the remodeling of the know exactly how much the building of Botines, in more than His admired Luis García Zurdo, stained-glass windows of the whom he considers "a sage", "not 40 windows of interior patios. Cathedral influenced him. only as a stained glassmaker, but The glass, according to its "By then I was stunned to look at inventor, consists in considering also as a painter", told the them. They are the best in Spain. the glass like a canvas; And get cathedral stained-glass windows "that they had to be restored as I never tire of seeing them, "he it to change the passage of light much as necessary, but as little says. and create textures. may be possible". He has not Fernández Castrillo, who imparts Castrillo recognizes that it is a forgotten. his knowledge at universities in technique "very complicated" Mexico, Italy or at the prestigious and that "it needs a lot of office". Castrillo was, for more than three decades, a lifelong patron of the Pilchuck Glass School in Seattle "Glasses have to be handled a disappeared Fundació Center del (United States), made Olympic lot, but results are obtained that Vidre in Barcelona. the Cathedral of the Sea of are not achieved with other Barcelona. techniques. It's drawing with He has made numerous exhibitions in Barcelona, Paris, light, "he explains. It was 1992 when he was Louisville or Lausanne. His works commissioned a stained glass He has been doing stained glass are in public buildings of diverse window commemorating the since the age of 19, when he countries of Europe and America, Olympics for one of the windows took up a career in Technical of the Gothic temple, which was Architecture to work in a liturgical using almost exclusively the technique of the vitrography. blinded. art company. The piece that we quote as Piece The window contains an allegory "I was commissioned for a of the Month from the MAVA on the Olympic fire and on Santa project for El Escorial to which permanent collection is titled "En Eulalia, which according to the company had already legend was crucified in the Plaza submitted two jobs that had been el azul". del Angel in Barcelona and gives rejected. Mine liked it. "
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Established artists. Javier Gómez.
Our web
Volume II — Number 100
June 2017
Javier Gómez is one of the using simple sheets most relevant sculptors in the superimposed, cut, polished art of glass in Spain. and glued.
causing unexpected plastic effects.
His work can be defined His artistic career began in It sometimes includes within abstraction, although the 80's as a self-taught, expressive elements such as with certain organic being trapped by glass ever cracking, sandblasting, or resonances that seem to since. small air bubbles trapped, as belong to a distant universe well as cold cuts, to get created by him. During the more than 30 eroded and degraded years that Javier Gómez has In the image, the artist with surfaces, where the light worked with the sculpture our President, in Avila. condenses intentionally has not ceased to experiment with flat glass,
Emerging artists. Diego Rodríguez. you, it tells you how you want it to be made into something unique,' he confesses. Diego is a master blower and, despite walking still thirty, is a reference in the work of blown glass. Diego feels every day the history written in more than 300 years around the work of glass in the ovens of La Granja and is increasingly aware of how the passion for his work and his art is what makes him unique.
The Royal Glass Factory of La Granja is the redoubt of magic and history in which Diego has found his place in the world, a
space in which to make his dreams of blown glass to create works of art admired far beyond Segovia . 'The glass speaks to
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'After so long I realize that the technique and the knowledge are necessary, however the sensitivity is essential'. And since his is art and art never dies, here is a trade that will never die at all.
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The red glasses of the stained-glass windows of Burgos.
Volume II — Number 100
June 2017
twelve apostles for the monastic church. Made in style The medieval red glasses that 1200, they are the oldest testimony of the presence of form part of the stained glass windows of the Chapter Hall of this art of fire in Spain. Only the Cloister of S. Fernando del three have been preserved, those representing St. Peter, Real Monastery of Santa St. Paul and St. John [Fig. 1]. María la Real de las Huelgas de Burgos and those of the The value of the stained glass door of the Sarmental of the of the door of the Sarmental of Cathedral of Burgos present a the Cathedral of Burgos is particular structure and Very multiple. It is one of the most different from other colored original and complete vestiges glasses. They are not colored of the first glass program that in the whole mass, but are was designed for the Seo constituted by different red Burgos. Iconographically, it is layers, separated or not, with adapted to the doctrinal and other colorless ones (1,2). symbolic programs that the Francisco Capel del Águila and Mª Pilar Alonso Abad
The presence of this type of glass found only in stainedglass windows in Burgos may indicate that it is either a deliberate procedure, several times the post with colorless glass in the copper-doped cast glass, or that the glassmakers who made these glasses Did not have adequate technical control of the production process of plaqué or folded red glasses. Spitzer-Aronson (3) established a first classification of the red glasses according to the secret techniques of manufacture of each era. In the Monastery of Las Huelgas, the French artisans painted in the stained-glass windows the whole of the
Church determined for the representation and significance of the theme of the History of the Salvation of Man during the Middle Ages [Fig. 2]. A complete study of the characterization of these red glasses to know their chemical composition and structure, is in the work of Mª P. Alonso et al. (4) and in (5). The analysis by micro-PIXE in vacuum chamber has allowed to obtain information on the depth distribution of the elements that compose it [Fig.3]. According to the chemical analysis by FRX, the same composition was observed in the colorless zone and in the
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red layer of the surface. In both cases they were calcium potassium silicate glasses, although in the red zone the concentration of copper is much higher. The presence of copper oxide (CuO) in the multilayer folded glass of the surface proved to be a clear indication that it was a copper ruby glass formed by metallic colloidal particles (6). Thus, in order to visualize the dispersion of these colloidal particles, a replica of the surface of this glass was observed by MET and a multilayer microstructure was detected, whose coloring is copper (Cu + / Cu0) colloids. Bibliography: [1]. M. Spitzer-Aronson. The distribution du cuivre dans les verres rouges des vitraux médiévaux. C.R. Hebd. Séanc. Acad. Sci., Paris, 278 (1974), 17 juin, C. series, p. 14371440. [2]. CV News Letter 31/32. Committee on Technique du corpus vitrearum. December 1980, p. 15-23. [3]. M. Spitzer-Aronson, Étude de vitraux rouges médiévaux à l'aide de microscope optique, microscope à balayage avec image par électrons rétrodiffusés et microsonde électronique à rayons X. Verres Réfractact., Vol. 29, no. 3, May-Juin 1975. [4]. Mª P. Alonso Abad et al. Bol. Soc. Esp. Ceram. V. 48, nº 4, 179-186 (2009). ..//..
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The red glasses of the stained-glass windows of Burgos. (Continuation).
[5] F. Capel del Aguila; M. García Heras; Mª A. Villegas Broncano, "Conventional analytical procedures. The Sarmental Rosette of the Cathedral of Burgos as a case study, "The Stained Glass of the Cathedral of Burgos, Mª P. Alonso Abad, CSIC, 2016, p.16-23. [6]. J.M. Fernández Navarro. The Glass (3rd edition), p. 464. Madrid 2003.
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June 2017
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Fig. 2
Fig. 1
Fig. 3
Fig. 1.- Apostle San Pedro. Royal Monastery of the Huelgas, Burgos. Chapter Room. Cloister of S. Fernando. Fig. 2.-Rosary window of the door of the Sarmental of the Cathedral of Burgos. Fig. 3.- Cross-sectional maps of plaque red glass obtained by μ-PIXE. Concentration of silicon (Si), copper (Cu) and zinc (Zn)
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Volume II — Number 100
June 2017
Vitroceramics and Art. materials have been investigated in Spain and some industrial productions of glass-ceramic type glazes have also been investigated, mainly by several industries in the sector of Castellón (Vitrodur®, Esmaldur® ...) Which were even awarded the prestigious Alfas de Oro awards at the Valencia Fair.
feldspar, arriving at quite high temperatures, a glassy mass is formed Close to 50% that together with the formation of another approximate 50% of mullite crystallizations (3Al2O3.2SiO2) gives rise to materials with higher performance than conventional porous single-layer pavements.
From the beginning of my research on this type of material, I have always been drawn to the fact that materials that were actually "glass-ceramic" already existed in ancient artistic productions. This is the case of the Egyptian vitreous pastes, of the yellow and blue vivid coloring we can see in many museums ... and even that there were already colored tiles for artistic Jesus María Rincón murals in ancient Mesopotamia (Ishtar Gate of Babylon) ... it is later In the Glass-ceramic materials, generally Islamic world the presence of colored known simply as "glass-ceramics" and glazed coatings has been spectacular more popularly as "glass-ceramics" in its artistic realization (see the because of their widespread use in palaces of Samarcanda, etc ...). I have domestic applications on kitchen always been struck by the fact that countertops, are materials resulting among ceramic artists it has been very from the heat treatment of glass common to use crystallized glazed desvitrification of special compositions, decorations, such as the use of zinc or Functional and specific properties in willemite silicates to achieve very infinity of applications both domestic, decorative tree formations in which are the best known by the numerous ceramic vases (in the general public, and in technological known There are several formulations applications of all kinds in Architecture, on this type of glazes of the glassMedicine, Industries of all kinds, ceramic or glass-crystalline type. Astronomy, Defense, etc ... On the other hand, the commercial The transformation of a glass of need to make glass hobs more composition previously designed for attractive to the consumer and the these purposes in vitroceramic is high competitiveness in the production achieved with a careful thermal cycle and marketing of these materials for involving two stages: Nuclear germs domestic use, has led some and nuclei in the "disordered" mass of manufacturers to offer worktops with an original glass (or "mother glass" ...) very attractive decorations, which and The controlled growth of crystals already Gives to this type of materials until they cover homogeneously the of conception so technological an entire glass mass or partially of said aspect very close to the one of the Art. glass matrix. Moreover, in the last two decades, The types of products or glass-ceramic many investigations have been carried materials that can be achieved by this out on glass-ceramics that can be obtained from all types of industrial process, already established in its waste and that often give different scientific and technological bases effects and colors, which together with since the year 1957 in which the the versatility that exists in the types of researcher Stookey of the Corning Glass Works patented the first material molding Of these materials, also makes them candidates for artistic of this type, are very varied. Thus, there are "massive" and glass-ceramic productions of all kinds and not only in murals as has been the traditional glass-ceramics in thin layers as since antiquity, but mainly in the coatings of "glazes". Regarding the volume of this type of products ... there realization of sculptures and sets in volume for decorations of are large sizes, such as mirrors for roundabouts, urban spaces , Etc ... as reflection telescopes (Zerodur® solid I have been proposing for years in solution beta-quartz-espodumena), many of my conferences (Rincon ... through building facade plaques (Neoparis® of anortita-wollastonite ) ... etc ...). There are two paradigmatic cases of this type of applications that I to the smaller ones, such as antiwear would like to highlight in order to parts for the textile industry arouse the interest of our readers of (Petrurgia® of pyroxenes of sintered the magazine Bulletin of Friends of basalts) ... or even very small pieces of biomaterials for the repair of bones MAVA: of the inner ear, etc ... In an avenue of Valencia you can contemplate and enjoy a roundabout To this type of materials we have with a Lady of Elche of gigantic size dedicated our entire scientific life that realized with disks of porcelain began in the year 1970 in the ICV of stoneware of color cobalt, that could the CSIC with the investigation and perfectly have been made with disks obtaining in the laboratory for the first of glassceramic material. In a way the time in our country of glass-ceramics of espodumena (Li2O.Al2O3, 4SiO2) - porcelain stoneware of so widespread cordierita ( 2 MgO 2 Al 2 O 3, 5 SiO 2) use today in the Construction I have always considered it as a material in a nucleated with TiO 2. Since that long certain way "glass-ceramic" because date, all kinds of glass-ceramic type from quartz pastes, kaolin and
Another good example of the use of glass-ceramic materials in artistic applications can still be seen in another roundabout on the road that goes up from the Mª Cristina swamp to LÁccora. It is actually a sintered glass ceramic, obtained from residual frit powders from the nearby industrial sector and marketed under the name Biocer®.
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Thus, the "glass-ceramic process" can be perfectly used by glass artists to go beyond the capabilities to create artistic works that glass has. If it has not been used up to date by glassmakers, I believe it is due to the lack of knowledge of the capabilities of certain glassy compositions to produce works of art, many of them opaque or semitransparent but by crystallization and not simply by the addition of opacifiers . I also believe that it has been because the transparency of the works in glass have always fascinated glass artists and the general public who enjoys the sensations transmitted by glass in their contemplation. I remember even in a visit to the Glass Museum of the castle of the Czech city of Pardubice in 2015, to have seen vitreous, semi-vitreous (or really glassceramic) sculptures resembling meteorites or stones from other planets because of their color Between black and dark brown and shapes twisted by a fusion + partial recrystallization ... I do not know if these sculptures in glass have been made from industrial waste, that belongs to the secret "know-how" that keeps any artist who cares for such ..., But it is very possible that in large volumes and with that aesthetic result, these sculptures have been made using in a controlled way the processes of fusion + vitrification + crystalline nucleation + growth of crystals in the melted and subcooled mass ... So, I encourage from this article written on the occasion of Number 100 of the Monthly Bulletin of Friends of the MAVA that the glass artists to venture into the possibilities offered by the production process of glass-ceramics to achieve sensations and aesthetic enjoyments far beyond Which already offers traditional glass with its fundamental property of color and transparency. Madrid May 25, 2017 J. Ma. Rincon Professor of Research of the CSIC and Honorary Associate of the UMH-Elche Some links: http://www.youtube.com/watch? v=e_dzqn0x3TM https://www.youtube.com/watch? v=fEM1xH-_sdg
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Sculpture and Glass.
Volume II — Number 100
June 2017
Cristina Giménez Raurell.
Our beloved glass, that rich and versatile material that offers us multiple technical and aesthetic aspects, was highly appreciated by artists of the first rank from the beginning of the 20th century to express themselves artistically. Duchamp, Chagall, Miró, Dalí, Picasso, Fontana or Oteiza, among many others, found in him an ally to narrate his speeches. The transparency, brightness, color, malleability, sound or haptic qualities offered by the vitreous paste, worked both hot and cold, allowed them to express themselves freely. These facets have enriched in a very significant way the language of contemporary plastic expression, giving creators the possibility of discovering unusual artistic possibilities, which has led them to opt, increasingly, for this plastic resource.
United States, and arrived in our country, with Joaquin Torres Esteban, in the mid-1970s. The story line goes through the work of Czechs Libenský and Brychtová, who since the mid-fifties of the twentieth century were inspired, like Pisasso, in African art to make their sculptures in glazed glass. Erwin Eisch, in Germany, and Harvey K. Littleton, who in 1962 inaugurated his oven in Toledo (Ohio, USA) with Dominik Labino, working as a freelance hot glass, continued to advance in the same aesthetic line, as later Other sculptors with roots in pottery did the same as Littleton. Such is the case of Finn Lynggaard who created a glass museum in Ebeltoft (Denmark) in the mid 80's, where works of the most outstanding artists of the New Glass are conserved.
The author's glass, sculptures, in short, was gradually strengthening in Spain. Torres Esteban worked with I would like to thank the President of sheets of floated glass. They were the Association of Friends of MAVA, followed by Pedro García and Javier Miguel Ángel Carretero Gómez, and take the opportunity to bring the reader Gómez, who have been referents until today cutting, pasting and polishing, in this Bulletin nº 100, a brief review and evolving with other chromatic and reflection on my humble ranges and new techniques more and contribution to contemporary glass, , After more than 30 years of research, I more careful and creative. His works, was finally able to present my doctoral and those of the artists studied in the thesis, are linked to constructivist thesis in 2016: Sculpture and glass: currents, conceptual art, art povera, Spain (1975-1995). New Glass land art, minimalism or kinetic art, Movement. which accept glass progressively for More than 500 creators are mentioned its expressive richness and its beauty. in its pages. Designers, sculptors, Particular attention must be given to artisans, glaziers, architects, stained the definitive impetus given by Studio glass windows; Spanish, German, Glass to outstanding public and Czech, French, Japanese, American ... the impact that glass as a private institutions around the world, including The Corning Museum of matter of art has had in the world is Glass (New York), The Pilchuck Glass unquestionable. School (Washington), Berengo Studio The origins of the New Glass (Venice ), Frauenau and Coburg Movement took place in Germany, the (Germany), Ebeltoft (Denmark) or the present Czech Republic and the Center International de Recherche sur
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le Verre et les Arts Plastiques (CIRVA, Marseille). In Spain, if we take a tour of the presence of contemporary glass in events, institutions and galleries, we can mention international fairs, such as EXPO 92, now celebrating its 25th anniversary, or ARCO, among others. The projection of this artistic movement between 1975 and 1995 was fundamentally promoted in Spain by the Center del Vidre de Barcelona (CVB), directed by Pilar Muñoz i Domènech, whose collection is preserved today in the Fran Daurel Museum of the City Condal. Also by the Technological Glass Museum of the National Glass Center Foundation (FCNV), in La Granja (Segovia), and the Glass Art Museum of Alcorcón (Madrid). Both retain magnificent collections of signature glass. Some museums of decorative arts and contemporary art of our country and many art galleries have opened their doors to these sculptors, especially in Barcelona, Valencia, Segovia and Madrid, but also in León, Granada, Albacete, Mallorca or the Canary Islands. Among the museums that preserve works of artists who have contemplated glass in their works, we will especially mention, in addition to the three cited above, the Museo Nacional Centro de Arte Reina Sofía (MNCARS, Madrid), Museo Patio Herreriano (Valladolid) The Institut Valencià d'Art Modern (IVAM, Valencia) or the National Museum of Decorative Arts (MNAD, Madrid). Some of the most prominent artists associated with New Glass Movement are well known by the Friends of MAVA: Littleton, Javier Gómez, Pertegaz and Hernández, Josep ... // ...
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Sculpture and Glass. (Continuation).
Volume II — Number 100
June 2017
... // ...
date.
Sanjuan, Castrillo, Torres Esteban, Keshava, Pere Ignasi, Marta de Paz, Pedro García, Ouka Lele, Carlos León, Marangoni, Zuber, Yolanda Tabanera, Montse Sarmiento, Anna Marco, Dale Chihuly, Bert Van Loo, Magán, Vistosi, Signoretto , Gabi Ignasi, Philippa Beveritge, Meritxell Tembleque and Joaquim Falcó, Lipofsky, Lynggaard, Fujita, Libenský, Aldana-Méndez, Uz, Javier Blanco, etc.
stable collection of the Museum of the Farm. This is his legacy 35 years later and its Director, Paloma Pastor Rey de Viñas, President of the Doctoral Thesis Tribunal, retains it as "Vicointer Collection". These precious pieces rescued begin today the museological discourse of the pioneers of the New Glass and its presence in Spain in this Segovian museum, the land of Torres.
This unusual event brought to the city of Turia many of the signatures that, over the years, have been pioneers in the New Glass Movement. Torres Esteban wanted to create the first contemporary glass museum in Spain. Its headquarters would have been the National Museum of Ceramics and Sumptuary Arts "González Martí" (MNCV, Valencia), but, finally, it Javier Gómez's initiative in creating the was not possible to host the more than Museum of Glass Art in Alcorcón in 110 donated works. 1997, with the invaluable donation of Takako Sano and the works donated But others are less well known in this Anyway, not everything was lost, context and the doctoral thesis has because, currently, the Director of this by many sculptors whom he asked for his participation, in addition to the been able to study what they bring Museum, Jaume Coll Conesa, is very with their works: new readings and sensitized with this reality and knows it acquisitions that have been made to him. Over the years to this day under possibilities of sheets, hot or thoroughly, having been Secretary of thermoformed glasses. the Tribunal of the Doctoral Thesis, By the direction of María Luisa Martínez García, has meant that MAVA the way, it was read in Valencia This is the case of Toribio, Álvarez, becomes the reference museum of Burruntxali, Vega and Prieto, Mariano because for three and a half years I contemporary glass in Spain, and, for worked as a Conservator of the Gon, Otremba, Nacho Criado, Eva some, in a way, the "heir" Which has Faculty of Conservators of Museums Lotz, Cristina Iglesias, Javier Pérez, managed to revive the embers of the in this institution. Atienza, Madola, César Manrique, idea that Torres Esteban wanted to see Cragg, Fabro, Irwin, Plensa, Ripollés, Without having prior notice of what come true in Valencia in 1983. for To mention only some of those this city and this museum represented included in the thesis catalog. for the content of my thesis, I enrolled Well deserves this event, which in its day did not give the desired fruits, to be in the Universitat de València and, The study also refers to the plastic commemorated, now that it will be 35 thanks to the direction of Professor values found in materials other than years since it was inaugurated, and to José Martín Martínez, I was glass but which seek the same put in value that has been the show unraveling this fascinating history. language and finally find the same that more works and creators of the values: transparency in particular. Continuing with the story of how the Glass Studio has gathered in our Such is the case of resin, alabaster, events happened, let us say that 1983 country. methacrylate or even metal. Ribera, was an emblematic year, because if in Many of its participants are today the Magán, Sarmiento, Oteiza, José Luis March was the Valencia event, in Álvarez or Sambeat are good September the Grup Vidre 83 impelled most outstanding creators of the New Glass and parents of this movement, examples of this. in Barcelona glass as an art subject as is the case of Littleton, Lipofsky, One of the most interesting milestones with several of the participants who Fujita, Zoritchack or Marangoni. had (VICOINTER'83) and in studied in the work is November three of them (Torres, Polo Also, by 2019 Torres would have "VICOINTER'83" (Contemporary and García) were reunited in turned 100 years old. This is another Intercontinental Route), an exhibition Valdepeñas (Ciudad Real). important reason to celebrate an event organized by Joaquín Torres Esteban that commemorates it and highlights in Valencia in 1983. The story of "VICOINTER'83", how "VICOINTER'83" opened the fortunately, was "rescued" in 1995 It deserves special mention the thanks to the good management of the doors wide open to the glass, which presence of six Spanish participants brought plastic and aesthetic FCNV. and more than 120 foreigners who possibilities of great value to art and showed their works in the exhibition The 63 pieces that were conserved in contemporary design . center of Valencia at that very early Fair Valencia, were assigned to the
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Glass sculpture in Spain.
Volume II — Number 100
June 2017
Mª Ángeles Villegas Broncano Department of Art History and Heritage. Institute of History. CSIC.
Glass sculpture in Spain has a limited scope compared to other European countries, and can be considered almost precarious compared to the US. Although there have been and still exist great Spanish artists and sculptors whose work is made of glass, the net number of people dedicated professionally to sculpture in glass or, in general, works of art in glass is significantly smaller than can be Accounting in other countries such as USA, Czech Republic, Germany, Japan, Italy, etc. A number of reasons for this can be argued. First, the glass tradition in Spain is weak and has historically been subject to political and social fluctuations as well as to a systematic technical dependence on glassmakers and foreign companies. Even the Royal La Cristal de la Granja (RFC) had an uneven and random trajectory in the century that existed as a reference for national glass and as such a glass factory.
Thirdly, it is necessary to take into account the almost absence of glass, as material for any type of technical or artistic application, in curricula at all academic levels. This deep disregard of glass, which may be blatant in schools dedicated in some way to art and sculpture, may explain the shortage of artists who face glass as a fear of expression, and many of them quit late or Early in the face of the technical difficulties involved in the cold and hot work of this elusive material.
As for the economic benefits that sculpture in glass can report to a professional artist, it is clear that this depends both on the degree of artistic development of the person and the advertising projection of his work through art galleries, exhibitions, auctions , Contests and prizes. And this second aspect is especially complicated in Spain for the reasons mentioned above.
An inevitable consequence of the situation of artistic glass in Spain and the professional solitude of Spanish artists and sculptors is their emigration to USA, Czech Republic (Bohemia) or Italy (Murano) as the main meccas of artistic glass. They are places where they complete or complete their technical and / or artistic training and where they carry out their works or part of them frequently with the collaboration of experts from these countries.
Frequently Spanish artists find themselves in the dilemma of pursuing their great sculptural projects, which entails economic and time investment, or alternating such projects with smaller works both in size and artistically to produce many easily sellable objects to report An income that allows him to continue with the execution of some major sculptural work. In the worst case, glassmakers choose to specialize in small size works, ornamental objects or artistic jewelry.
The problem of the Spanish artist is then: to stay abroad as a self-employed or in a wellestablished work team, or to return to Spain and try to establish themselves professionally. The choice is complex and often is a regrettable failure if it falls to be a sculptor glassmaker in Spain.
It should be noted that, despite the lack of artistic tradition of glass in our country, Spanish sculptors, whether self-taught or technically and artistically trained abroad or at the Glass School of the National Glass Center Foundation (RFC) ), Are very creative and skilled, so they can be placed without any deficiencies to match their European colleagues or the rest A second issue that may have of the world. This is not at odds had a negative influence on the with the fact that most of them development of glass sculpture define themselves as artisans in Spain is the lack of interest shown by the average Spanish in and rarely as artists or sculptors. art, in general, and sculpture in Probably in Spain the borders particular. Also consider the few between artisan glass, artistic art galleries in which there are glass and sculpture in glass are works made in glass or very diffuse, but that is nothing dedicated exclusively to this more than what was intended at material. Nor does there exist in the time of the installation of the Spain a generalized feeling of Glass Studio Movement in 1962 collecting, which does not in the USA, with the Clear escape that of objects and proposal for the abolition of sculptures in glass and which, barriers between artists and however, is widespread in many artisans. countries abroad.
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So the artist is in need of a work of diffusion and market of his work, in addition to the artistic work itself.
The panorama of sculpture in glass in Spain has not yet been very encouraging. However, the enthusiasm and the effort that young glassmakers are making to acquire technical and artistic knowledge of glass that places them in the international media is remarkable. Therefore, it is to be hoped that Spanish glass sculpture will be directed in the coming decades towards a more flattering horizon. Among the most outstanding Spanish glass sculptors we must mention Joaquín Torres Esteban, a pioneer in the work with sheets of flat glass; Javier Gómez, promoter and artistic adviser of the Museum of Glass Art of Alcorcón (MAVA); And Pedro Garcia, known as the sculptor of feelings. Among other no less meritorious and reputed sculptors, it is important to highlight the new generation of young glassmakers: Alba Martín, Juan Carlos Calabria, Susana Martín, etc. Who with their artistic and technical contribution represent the future of Spanish sculpture in glass. N. of R. The image that illustrates this article is the last work done by our Honorary President Javier Gómez.
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The Glass Technological Museum. the expansion of study glass movement.
Volume II — Number 100
June 2017
In the exhibition you can see the work of the founders of this movement in Asian countries such as Japan, Kyohei Fujita or European case, the case of Segovian Joaquin Torres. Thanks to the collaboration of ovens and schools, study glass became increasingly international, adopting particular forms in each country, depending on their artistic and cultural background.
Paloma Pastor Rey de Viñas Director of the Technological Museum of Glass. The Glass Technological Museum is located in the old Royal Glass Factory of La Granja, one of the most important European industrial buildings of the Enlightenment era and a true sign of identity for Segovia and its Province. The Museum is part of one of the three areas of activity that together with the technical or production area and the teacher has the Public Sector Foundation National Glass Center. An Institution recognized by Ministerial Order in 1989 and inscribed in the Register of Foundations of the Ministry of Education, Culture and Sports, in 1994. Institution that integrates all the activities related to the world of glass, its founding purposes being the promotion, development, teaching, research and diffusion of the craft, art, technique and history of glass. The Museum area has a number of stable collections: glass technology (very diverse machinery, tools, raw materials, molds or tools), European glass, (a very complete collection of European bottles and containers of The sixteenth to the nineteenth centuries); Glass of La Granja (composed of more than 700 pieces), stained glass windows of the Maumejean Hermanos Workshop (sketches, photographic plates, cartons and stained glass windows from the 19th century and the first half of the 20th century), and last but not least, the collection of Contemporary glass, which brings together a total of 575 works that were acquired by purchase, or donations of artists who taught at the school, or showed work in the museum in temporary exhibitions. Except for the VICOINTER collection, most of these works have been gradually entering.
The exhibition of contemporary glass, classified in stages and, in turn, by techniques of manufacture, begins by showing a first stage of hatching of the study glass movement, which we have called Beginnings. In this section, two key artists stand out, the marriage Stanislav Libenský and Joroslava Brychtová, true founders of this movement in Czechoslovakia and the well-known Marvin Lipofsky, reference artist in the American movement. After World War II, glass as an artistic material began in an isolated and silent way in Czechoslovakia, thanks to the incorporation to the industry of designers and artists trained in the field of glass in old glass schools, as was the case with the school Of Zelezny Brod or of Novy Bor. A decade later, Czech studio glass has hatched in Europe after exhibiting in international exhibitions, as was the case with the 1958 Brussels exhibition, which caused a great deal of expectation at the time among the public. Soon after, and together with the North American contractual movement, the universities and the recovery of the folklore of the country, the idea of creating a studio-scale oven or studio glass appeared in North America, more concretely in Toledo, Ohio, around 1962 ", Intended to blow glass, by decision of Professor Harvey Littleton and engineer Dominique Labino. A project that finally convinced Littleton of the need to receive training in traditional glass techniques and, thanks to the institutional support of the Fullbight scholarships, would begin a close collaboration with Venetian ovens and their traditional techniques. The second stage of the sample, which we have called Expansion, comprises the decades of the 70s and 80s, and is characterized by
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However, in North America, thanks to the work of Littleton and his pupils Chihuli and Lipofsky, the first to create the well-known Pilchuck Glass School in Stanwood, Washington (1971) and the second, when creating a department Dedicated to glass at Berkely University in California. It was in this expansive stage when glass acquired full value as artistic material. The exhibition of glass works in art galleries, such as the famous Heller Gallery in New York, or in different glass museums, such as the traveling exhibition, between 1979 and 1982, "New Glass ", where for the first time a Spanish artist, Joaquin Torres, participated, all this was the trigger for glass to become a plastic material with multiple creative possibilities. Now, Spain was incorporated into the study glass in a late form, thanks to the work of Segovian artist Torres Esteban, fully aware of the situation that was being experienced in these countries. In 1983, Torres Esteban organized a collective and international exhibition of contemporary glass called VICOINTER at the IX International Ceramic and Glass Fair CEVIDER, which invited glass artists from 109 different countries and gathered a total of 331 works. A project that was organized by Torres with the aim of putting value in Spain for the first time glass as artistic material. A good number of these works can be seen in the museum. The third and last stage of the exhibition, which we have called Actualidad, covers the 90s, until the present time, and in it you can see a very complete exhibition of international artists, the first figures of the study glass movement, with new and Innovative concepts for working glass. ..//...
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The Technological Museum of Glass. (Continuation).
Volume II — Number 100
June 2017
Estancias exhibition. Carlos León at the Museum of Contemporary Art Esteban Vicente in Segovia. Under the title, Painting in Transparency, we can find still lifes of glass, titled Couplings (2016), whose material comes from the furnaces of the Crystal Factory itself. They are fragments of broken glass that fit in balance on top of each other. Beside these Couplings, there are three collages of acetates, which show other possibilities of transparency. With his series Couplings, Carlos León retakes the dialogue between glass and art. ... // .. From the 90's onwards, several important events related to the art of glass took place: the consideration of glass, as a material to experiment, express or communicate, thanks to the postmodernist criteria; The flourishing of schools, such as the School of Glass of Barcelona or the School of Glass of La Real Cristal Factory of La Granja, in Segovia, as well as the creation of different departments of glass in Universities, and all this favored the exchange of knowledge Technicians with artists interested in this material. Undoubtedly, at the moment, glass is considered as an artistic material of the first order and as such, it is used by plastic artists knowledgeable or not of this material.
show the rich variety of creative approaches of Czech glass artists, constantly evolving and committed to the glass centers of Central Europe, which have left an indelible mark on contemporary art.
Here, a deconstruction of the classic still life is carried out to deepen, through the technique of collage of glass fragments, the concept of transparency, fragility and, at the same time, unstable equilibrium.
The exhibition brings together 25 glass works made in the Czech Republic by the main figures of these training centers and founders of the contemporary glass art movement, as well as a selection of alumni from these middle schools, universities and universities.
The exhibition has been organized jointly with the Esteban Vicente Museum and the Diputación de Segovia.
It brings together works carried out since 1987, that is to say, after the implementation of aperturistic policies promoted by the Perestroica, until the present time. Participating artists: Founders of Contemporary Glass Czech
Libenský - Brychtová. René The works exhibited in the rooms of Roubíček, Vladimír Kopecký, the museum are organized by Teachers from different techniques. Among the techniques universities: of blowing are the works of Rony Plesl, Klára Horáčková, Ilja Japanese, Mexican and Finnish Bílek, Lada Semecká, Petr artists, Kiln casting technique, Stanický, Oldřich Plíva, Věra Libenský or Rudy Gritsch, Sand Vejsová Casting, Ana Thiel, termofused, José Castrillo, thermoformed, Teachers from different schools of Miriam Di Fiore, blowtorch glass , glass Massimo Lunardon, stained glass Pavel Kopřiva, Petr Stacho, Milan windows, Santi Pizzol, laminated Krajíček, Milan Handl, Stanislava glass, Torres Esteban, Javier Grebeníčková, Ondřej Strnadel, Gómez, Pedro García or David Josef Divín, Martin Hlubuček, Libor Magán, etc. Doležal, Ivana Houserová In addition to the permanent Independent Artists exhibitions, the museum organizes Vladimir Klein, Pavlína Čambalová, several temporary exhibitions annually, where artists from all over Martin Janecký, Jiří Pačinek, the world are invited to participate, František Janák, which are usually combined with The exhibition has been organized workshops, conferences and jointly with the Glass and Jewelery meetings with students and Museum of Jablonec Nad Nisou of teachers of the school. the Czech Republic and the Czech Exhibitions that can be seen today: Center of Madrid. NO LIMITS Artistic glass Contemporary Czech Republic.
Carlos León STAYS. Transparency painting
The NO LIMITS exhibition aims to
This is an extension of the
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Timo Sarpaneva. Art in Glass. Kakkonen Collection The exhibition studied and documented by the Glass Museum of Riihimakki of Finland, makes a complete tour of the different works designed by Timo Sarpaneva, from its beginnings, decade of the 50, until its final phase, last years of the decade of the 90. Through the more than 150 selected works you can see perfectly the evolution or the creative process of this magnificent designer trained in the Central School of Applied Arts Helsinki in the field of graphic design. Timo Sarpaneva belongs to the group of designers who along with Tapio Wirkkala, Kaj Franck, Nanny Still and Helena Tynell, disciples all of them of the teacher and glass artist Arttu Brumme, settled after World War II the Scandinavian style, based on pure lines, Simple and organic. Group of magnificent designers that conformed in the decades of the 50 and 60 the socalled Golden Age of the Finnish Glass. The exhibition has been organized jointly with the Riihimäki Glass Museum in Finland, the Ministry of Finland, the Embassy of Finland and the Ibero-American Institute of Finland. N. of R. The image that illustrates this article corresponds to the inauguration of the exhibition of Timo Sarpaneva in the past month of March.
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The discovery of the Glass Museum.
Volume II — Number 100
June 2017
The archaeological works for the enlargement works of the Museum of Glass and Glass of Malaga have left uncovered one of the many secrets that hoards in its subsoil the neighborhood of San Felipe Neri with the discovery of the remains of a potter's oven that could date Of century XVII.
kitchen of the museum," stained glass Which are now not exposed or a room dedicated to the art of goldsmithing and jewelry with natural glasses.
"The idea is to take the collection to the street, to the walls of the museum so that the neighborhood and those who walk around can enjoy it for The interior, with the foreseeable free," he advances. fragments of vessels that could The project also aims to have a house, can locate us with green area, "so important in exactness in the date in which Andalusia with its garden and the last pottery was forged. patio culture". And that even has its own name: Although, he warns us, contrary Chinchilla, the ceramist who then to what is customary, everything lived in the house that was will depend on what is in the seated on the lot with which they subsoil. were made more than a year ago A way to "promote the future by and now gives the name to the presenting the past" with the street. idea that the artisans, like A very "exciting" moment for centuries ago, return to it "and Gonzalo Fernández-Prieto, the we can have an oven, but director of the exhibition space, already of the century. one of the best valued tourist portals such as Tripadvisor, who An example of this, the continues to strive to recover the workshop of stained glass by Alberto Cascón, who can boast industrial past of this historic of having the Master Card. artisanal neighborhood, a neighborhood that already The space celebrates its eighth seems Begins to be little by little birthday watered by tenacity and more known. determination to continue making itself known. Meanwhile, it already outlines the expansion project that will An extensive private collection allow to install a library with more "and that begins to be highly than 30,000 volumes of respected by experts," although Decorative Arts, the most more abroad than at home. complete in Spain, "so that "I am surprised when in Berlin, students do not have to be in the Paris or London and even in
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New York there is more talk about this museum than in Malaga, but we do not receive help or political support like other museums," he laments. Fernández-Prieto claims that his is "a museum of neighborhood" and as he did a few days ago the teacher Jorge Rando, at times, also feels invisible before the institutions and his commitment to a museum route where everyone has no place. "I feel a loose line, they make me feel this way but I still fight for my neighborhood and from here you do not take me, it's a love story," he jokes. Among the pending subjects, a better sign, "many visitors complain that they are lost" or simply that the taxi drivers know how to get to him. Of course, it has the ingredients insured for a round visit: an 18th century mansion to travel through the history of mankind through glass, with more than 3,000 pieces, seasoned with pictorial work, furniture and decorative objects. And that is always in constant growth. The last of the incorporations, 'Ruler Sinner Devoured By Demon', a stainedglass German Expressionist style, made in 1949 by the house Franz Melchior of Cologne.
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Interview with Jan Fabre.
Volume II — Number 100
June 2017
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From abc.es.
skeleton is molded in the The Belgian Jan Fabre (Antwerp, maternal uterus, and is also 1958) made his first exhibition in shaped as it ages, as the glass Venice in 1984, and by the big is molded in an oven. They are door: representing his country at almost two fossils, hard and, at the Biennale. Now that a new the same time, fragile. edition has just opened, the artist Are you the same artist as 40 condenses 40 years of career in years ago? the City of Channels through two materials: bone and glass. With One takes a lifetime to become a young artist. them generates in the Abbey of San Gregorio a story about the Is that the goal? vulnerability and also resistance In time, you become younger of the human being. It all because you become freer. depends on the color of the glass When you are young, your you are looking at. ambition is to enter a large How do you define "Glass and museum. You are Bones Sculptures"? predetermined. I have already done exhibitions in big Four years ago, when I celebrated the PietĂ exhibition in museums, performances in big theaters. When you grow old, Venice, I already commented ambition is internalized, with two of the curators of this projected more into the work. For event, Giacinto di Pietrantonio and Katerina Koskina, as well as that reason, you become more a glass master with whom I have creative and free to work, to take risks, to experiment. worked for 15 years, the possibility of putting together my Works in glass and bone. That is one of the facets of my work. Both commissioners traveled to Belgium, visited some collectors and with them made a selection from the beginning, as "Pacifier", the first work of this nature, 1977.
Is there any material that has been as faithful as glass and bone?
And what is the difference between a real bone and one molded in glass, also present in this exhibition?
I think the beetles; And the color blue, which I see as a material: Bic Ink, because in the eighties I made ink drawings of that pen. He used it because it is a very chemical color. However, the iris of beetles is natural and when you return to the works done with them you see that it is more red, which is then more violet ...
For me, both are two very old materials. It could be said that a
I was going to ask about the recurrence of the blue color ...
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I work with a pen because it's cheap. The group of works of the eighties that I present here called it "The Years of the L'Heure Bleue". The entomologist JeanHenri Fabre defined the blue hour as that sublime moment in which the nocturnal animals go to sleep before the daytime wake up. Blue is also an important color in Art History. There are two or three basic: the gold of the gods, the blue of the mantle of Mary ... In the fourteenth century traveled to Afghanistan by lapis lazuli. It was one of the most expensive colors. But this is a little mine. A contemporary blue. There is a connection between his work and tradition, the great masters, to which the glass industry of Murano joins here. The vanguard of truth always comes from tradition. I am an author born in a country of giants. In Flanders we invent painting. We have teachers like Rubens, El Bosco, Van Eyck, Van Dyk ... They are my teachers today too. I continue to nourish myself with them, full of imagination and expressiveness. Is there any religious feeling in your work? More than religious, it is spiritual. My work speaks volumes about contemplation. And I believe in the vulnerability of human beings. The fragility. Glass and bones are also.
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Activities Museums I.
Volume II — Number 100
June 2017
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Activities Museums II.
Volume II — Number 100
June 2017
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Activities Museums III.
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June 2017
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Activities on the MAVA. Centenario.
Volume II — Number 100
June 2017
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Tvitec in Marrakech.
Volume II — Number 100
June 2017
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Marrakech-Menara Airport is listed as one of the most architecturally beautiful in the world. And its recent enlargement has only put the accent on this cataloging.
various glazing solutions for both the exterior facade and the interior of railings and elevators, as well as an impressive dome that becomes the main access to the terminal.
The double glazing that predominates in the airport In the project of the new terminal project incorporates intelligent high performance glass has layers of solar control SG HP played a very relevant role. Bronze 40/27 and Climaguard Not only for the aesthetic result of Premium. the work, but also for the But in turn they are combined technical requirements of this with laminates of various material in the construction of a characteristics and compositions, public transport superstructure of tempered and screen-printed these characteristics. that contribute to the safety of the installations and to guarantee Tvitec was commissioned to supply the eco-efficient glazing of a certain acoustic insulation in them. the extension of the Moroccan airport through the company Of the nearly 5,000 pieces that SGTM, with very tight deadlines make up the extraordinary glass to coincide its inauguration with a mural of the extension of relevant international summit. Marrakech airport, more than a The transformer produced a total thousand are treated with a very unique and exclusive of more than 22,000 meters of
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screenprint. Many of them are located in the great dome of access and are also characterized by their triangular shapes and their extra sizes. The Tvitec Project Manager, David Abad, emphasized at the time of carrying out this work Tvitec's technological capacity to transform glass not only nationally and internationally. "Otherwise it would have been impossible to complete the project with the high quality and within the required deadlines," he said. "The large dimension of the glazing units forced a great effort in the field of logistics," said the coordinator of the work in Tvitec, Bibiana Prieto, referring to the triangular pieces of insulating glass that in many cases exceeded the 2.5 meters high.
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The glass blower (IV).
Volume II — Number 100
June 2017
Cristalini", and alludes to the remembered: Antonio Miotti, There are many names of who worked in Brussels, friendship that united them craftsmen documented since both. Francesco and Giovanni the Quattrocento, but among Savonetti, Nicola Stua, Several members of the them the figure of Angelo Barovier family continued to established in Amsterdam; Barovier (+1461), belonging work after his death: Marino, Bernardino Scapitta, who first to a family dedicated to this traveled to Sweden and later who also quotes Filarete, office since the end of the Giovanni, Francesco and his focused his activity in England thirteenth century. and Germany. only daughter, Maria. Justina Rodríguez García.
His fame came from the series of technical discoveries he achieved, the most famous of which, the famous glass (quality of glass characterized by its lightness and transparency), provided universal fame to the ovens of the island. Likewise, it is considered as the initiator of the decoration in glass. Angelo came to occupy important positions, such as Camarlengo, Cancelliere of the Community of Murano, Apostolic Reader and Papal Secretary in Rome. Antonio Averulino, the Filarete, refers to him, in his Treaty of Architecture, as author of "belli lavori di
At the beginning of the 17th century, a member of this family, Domenico, "gentleman of Murano", came to Spain, and settled first in Mallorca and later in El Escorial, where he worked for King Philip III.
All of them, almost without exception, were part of strains of master glassmakers, whose business, as was customary, passed from parents to children throughout generations.
At present, many of the big Famous names of families of firms continue to carry the illustrious surnames of the glaziers were also the past: Barovier, Toso, Dancer, Della Pigna, Mocetto and Serena, among Seguso ... In contrast to the Murano many others. glass artist, Spanish glazier There are also many was an anonymous person Venetian masters who worked in his small oven documented outside the Adriatic Republic, especially and who served an interior in the seventeenth century, a demand, although in some century in which the number places, such as Barcelona and Cadalso de los Vidrios, of evasions increased his products were also considerably. commercialized Exterior. Among them deserve to be
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The factory of Valdemorillo (IV).
Volume II — Number 100
June 2017
L.F. Mazadiego y o. Puche.
location, which is why they decided to boost their sales in Finally, the third was born in places where products from the processes of fire and decoration, with three furnaces the competition companies hardly arrived, for example, of the type perfected by Tenable and Turncliff - one for Extremadura, La Alcarria , La Mancha and the two Castillas. sponge cake, another for baking and a third for varnishes This introduction in the market - two large stoves or muffles for of the tiles would be endorsed the baking of Decorations and after obtaining a bronze medal another furnace to calcine the in the Exhibition of the Spanish quartz, in addition to raw Industry of 1850 and another, warehouse, cake warehouse, also of bronze, in the Universal bath room, paint shop and, Exhibition of Paris of 1855. finally, store of manufactured The following years led to the earthenware. About four kilometers from the factory, the definitive consolidation of the company also had a mill on the factory, which in 1883 already gave work to nearly two Aulencia river, equipped with hundred people, almost three twelve stones for the grinding of the quartz, as well as in the times more than at its origins, and who had continued to town itself, of a large fencing acquire mining concessions, for a firewood store. such as that of the mine With such means, in addition to "Labranza de Canteras 115 tons of kaolin, another of "(Sierra and Tuda, 1996). quartz, about six hundred The first mine, "La Agujera", kilograms of feldspar, all coming from the locality itself, had reached 83 meters of and about 2.3 tons of albayalde depth and produced about 800 quintals a year, and was then from Almeria, the factory used as the basis for "pasta seems to have been able to mixtures". elaborate Of the order of 33,000 dozen pieces a year, of Likewise, they expanded their the so-called flint earthenware, facilities, becoming a oneas well as refractory bricks, storey house "covered with crucibles and retorts " tejavana and adjacent to Hurtado for 5,500 (Sierra and Tuda, 1996) reais" (AHPNM). As mentioned before, one of This set of improvements the main drawbacks of the allowed "the construction of an Valdemorillo factory was its oven more, almost certainly for sponge cake, and two new
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muflas, as well as the establishment of certain technical reforms, such as the expansion of grinding capacity, thanks to the application of steam To the mills (by means of a twenty-horsepower horizontal cylinder machine of British origin) and the improvement of the soil refining and purification procedures (by washing on a thimble, after having been worked by a cylinder of granite" (Falcó, 1882) Having established their position in the ceramics sector, they decided to participate in the National Exhibition of Mining, Metallurgical Arts, Ceramics, Glassware and Mineral Waters of 1873, with a pavilion, which can be read in Revista Minera (1883). To attract the attention of the public ". The raw materials used (samples of kaolin from Valdemorillo and San Martín de Montalbán, quartz and feldspar from Valdemorillo and albayalde from Madrid) and a selection of its products (1883) were shown inside. Juan Falcó and Badenes passed away in 1883, succeeding his son Juan Falcó and Sancho, Engineer of Mines in the promotion of 1879, that got to preside the Council of Mines.
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Court of Auditors report.
Volume II — Number 100
June 2017
The Court of Auditors considers that the Ministry of Education, Culture and Sport (MECD) should address its intervention in the National Glass Center Foundation, providing it with the necessary resources and a sustainable management project through appropriate coordination with, among other institutions , The National Patrimony, in such a way that it puts in value the museum that shelters and it avoids the deterioration of its property, the Real Factory of Crystals of the Farm. This has been raised by the court in its audit report on the management of real estate assets used by the foundations of the state public sector in the conduct of its activity, 2014 and 2015, approved by the plenary of this body. The Foundation is based in the 'Royal Glass Factory of San Ildefonso', located in the town of La Granja de San Ildefonso (Segovia). The property, built in the 18th century, has been declared a Property of Cultural Interest since 1997.
building being affected by the MECD, is authorized to use the Foundation in 2014 for four years renewable to four others.
NUMEROUS REHABILITATION WORKS
endowments of the building would be programmed by the MECD and could be made from the budgets of the FCNV, the Ministry, or any other entity or body that desired Contribute to its improvement or replacement.
"The total amount invested has not been quantified until the present moment, having verified in the course of the inspection that in many areas of the building continued important works of structural consolidation continue", he adds.
According to the Court of Auditors, due to its seniority and the state it According to the document, among presented, the building has required the conditions agreed, the FCNV numerous rehabilitation and undertook to carry out the adaptation works, which have been maintenance and maintenance of financed, for the most part, by the infrastructures, facilities and entities that make up the Board of buildings, provided that they did not Trustees (MECD, Ministry of acquire the category of investment. Fomento, Junta de Castilla y León, and DGPE, mainly). Investments Investments which did not involve made between 1982 and 2008 the mere maintenance of the totaled 4.8 million euros. infrastructure, facilities and
According to these conditions, the Foundation had to submit to the Ministry, before February 28 of each year, a Strategic Plan that included all the actions it planned to carry out in the building during that year and the next one.
Contrary to the rules of adaptation of the General Chart of Accounts to non-profit entities and the model of action plan of non-profit entities, the Foundation had not recorded in its financial statements any amount for The one corresponding to the 2014- the property used. 2015 biennial plan was to be Nor did it have an assessment of It covers an area of 28,123 square carried out during the two months the assignment of the right of use or meters - of these, 6,087 square following the date of delivery of the quantification of the works of great meters were transferred to Castilla y property - performed on August 21, repair necessary for the proper use León for the installation of a high 2014. of the property. school. "The aforementioned Strategic Plan According to information from the The property is being used by has not been provided, nor has this cadastral certification, the building authorization of use granted to the Tribunal been aware that the FCNV was valued, at December 32, 2015, Foundation, on December 20, 1984, has complied with this obligation, at 1.1 million euros the land and 6.0 by the owner of the property (the which in this case is relevant million euros the construction. National Patrimony). considering that the building After a change of ownership to the needed major reforms," he General State Administration, the emphasizes.
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The Roman glass in museums in Madrid (XXVIII).
Volume II — Number 100
June 2017
Eduardo Alonso Cereza
This attitude shows an old way of thinking about protection of the didactic tradition of the family workshop.
tradition of which they enjoy and they put great effort in maintaining the privacy and care of the same without external interferences.
and poverty.
the artisan world and will be when the State will play an important role in the servile professional preparation.
simulated dialogue where he will finally establish the inferiority of the craft.
All these attitudes will be taken into account by the Romans. Plutarch, centuries later, will be of the same Solón reflects the interest of opinion. In Greece, especially in the the State in guarding the In the 2nd and 1st centuries artisan knowledge, but does BC Posidonius made a great figurative arts, the center not take direct charge and where the profession is effort to increase the valuation learned is the Ergasterion or leaves it in the hands of the of the craft, but it was an family and the workshop. family workshop where isolated fact, and so Seneca different generations are makes us know by refuting Later, it will be the slaves formed. who hold the leading role in such affirmations through a These workshops will be replicated in the Roman world, and examples will be the work of glassmakers in family workshops where knowledge will pass from parents to children.
The economy will be the one that marks in the different Solón protects the craftsmanship, but also his polish Greek and in the social respect promulgating different periods the political criminal sanctions on those attitude to take in the In Greece, the training of young people is the task of who curse the craftsmanship valuation craft. the State, but with respect to (kategorías dìke). Economies clearly linked to the learning of craft crafts and commerce, such as In the Greek democracies activities, the family will be corresponding to centuries V the Athens of Solon or responsible for this, Pericles, are more considered and IV a.C. Citizens enjoy displacing the state. the same rights and manual with manual labor. The manual workers defend labor will be an important with dedication the didactic weapon to combat leisure
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N E W S (I).
June 2017
the R & D & I of the
Volume II — Number 100
Congress in Elche.
The program of this Congress will be developed in two sessions, whose lectures and communications will be published in a special edition of the prestigious SCI bulletin MATERIALS LETTERS, in order to highlight the main results and conclusions of the scientific communications.
VITRIFICATION AND GEOPOLYMERIZATION OF INDUSTRIAL WASTE will meet in Elche in this brief meeting.
We include in this article the web page that was launched last March of the International Workshop- Extended Meeting of the Committee TC05 of the ICG that will take place in the
next 14 and 15 September in Elche (Alicante) organized by the University Miguel Hernández. Leading international scientists and technologists, involved in
Culture 2017.
Last May we have been attending the concerts of classical music organized by the Miguel Ángel Colmenero Foundation in the House of Valencia or the House of Cantabria, both in Madrid.
The quality of the interpreters is very high and taking into account the crisis that affects the sector and the lack of spaces in which to develop their extensive preparation, the fact that both regional houses render their rooms These concerts are performed disinterestedly is to be by students from the various thankful. conservatories of the Capital, such as Teresa Berganza or The Miguel Ángel Colmenero Amaniel, as well as the Foundation is the entity that Superior of Madrid. www.amigosmava.org
has been providing us the interpreters for the 52 events that we were programming in our space "Concerts in the MAVA", until the Government team of our City Council forbade us to use the auditorium of our Museum Claiming that it was a space dedicated, exclusively, to the realization of civil weddings.
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N E W S (II).
Helsinki, capital of design.
Volume II — Number 100
June 2017
Five Finnish museums join forces to celebrate 100 years of independence with Modern Life !, an exhibition that will bring together until 30 July 2017, the greatest exponents of Finnish modernism. The exhibition focuses on the impact of this current on everyday life and the arts in the Nordic country.
It was World capital of the design good taste that is worth being in 2012 and is City of the design unraveled. by Unesco from 2014. In addition, this year events are Yes, design. Omnipresent word in taking place to celebrate the Helsinki that marks the Finnish centenary of Finland's way of life and has evolved to the independence. rhythm of its own history. The Design Museum (yes, of Buildings, shops, objects ... course, the design has its own Everything in the Finnish capital museum) has hosted since last has a taste for creativity. Even in February a permanent exhibition its maps appears the Design titled Utopia Now about the Quarter, with carefully designed influence of Finnish design in the boutiques dedicated to art, history and evolution of the furniture, clothing or jewelry. country through a series of new collections and unpublished Proper names like Alvar Aalto pieces Of proper names like and Eero Aarnio or shops where Alvar Aalto, Tapio Wirkkala or to get lost like Iittala are just the Harri Koskinen. tip of the iceberg of a lattice of
But if we talk about Finnish design it is inevitable to mention glass and its undeniable link with the country's identity. The Finnish Glass Museum in Riihimäki - about 70 kilometers from Helsinki- has just opened a panoramic view of the design in this material with its exhibition 100 glass objects. A tour from 1917 to 2017 through each object and its history, accompanied by images and anecdotes of their own owners that help to understand their importance in the daily life of the Finns. It can be seen until September 11th.
For tap water. designed a bottle made especially for drinking tap water. Design of the bottles The bottles, available in three sizes (300, 500 and 800 ml), are made of borosilicate glass, a material much more ecological than traditional glass. The plugs, in twelve different colors, are made of a material free of biphenol A, which is not harmful to health.
The Retap bottles are designed without any right angle in which bacteria can RETAP, a Scandinavian design following the 2009 International accumulate or grow, which company, has decided to bring to Climate Meeting in Copenhagen. also helps to make cleaning Spain one of its latest designs: a It highlighted the harmful effects of very easy. glass bottle designed to drink tap plastic water bottles on the Both the bottle and the plug water. ecosystem. can be washed in the The idea emerged in the company They felt they could do something dishwasher. to help improve this situation, and www.amigosmava.org
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The glass in Museums: Notojima.
Our web
Volume II — Number 100
June 2017
The Notojima Glass Museum is a great place to visit on a rainy day.
The museum is about a 10 Price minute drive from the Notojima 800 yen for adults; Free for Aquarium. elementary school children. The building is a visual treat in Also, Notojima is about 40 itself, and the glass work in the minutes by car (or 30 minutes Print this page for a discount of 100 yen (700 yen / adult) for a exhibitions and the permanent by bus and train on a short collection is fascinating. trip) from Nanao, which has a maximum of 5 people. Uniqlo and a Book-off, plus Access The museum has a section on other shops. the history of stained glass in By car: Europe, which includes some Leah Zoller is a freshman CIR There are two ways to get to beautiful pieces from Venice in Anamizu and can not get Notojima; Taking 249 to 256 and Germany. enough of Art Noveau. and 257 from the north or There are pieces from the Work hours taking 1 and 257 from the Qing Dynasty China. south. The area is well marked April to November: MondayCollection B houses pieces of with bilingual posters. modern artists from all over the Friday 9:00 a.m. to 5:00 p.m. Free parking in the adjacent world. Since this is in the Noto, (weekends 9: 00-16: 30) you may be surprised to see December to March: Monday- lots and restaurant parking at the bottom of the hill. that this permanent collection Friday 9:00 a.m. to 6:30 p.m. contains a Chagall, a Picasso, (weekends 9:00 a.m. to 6:00 By public transport: and, not one, but two pieces of p.m.) Bus schedule Dali. * Closed every third Tuesday Take the Nanao Line to Wakura The other galleries are of the month. (If the third Onsen Station. In front of the designed to offer temporary Tuesday is a public holiday, exhibitions. the museum will be closed the station, hop on the bus for の じ 臨海 公園 行 き き following Wednesday.) Also Apart from the titles of the closed during the year-end (towards Notojima Rinkai works and the names of the festivities (December 29 to Kouen / Notojima Coastal artists, the exhibitions of the January 1). Park) and take the bus to 前 前 museum are in Japanese. (Bijutsukan mae). From If you do not read Japanese, it The coffee shop and the gift Wakura Onsen station, it costs shop are open 9-16. The will take about 30 minutes to 550 yen and takes about 30 see all the pieces. If you read restaurant and shop at the minutes. bottom of the hill closes Japanese (and like to read around 5pm. information about parts and A taxi from the Wakura Onsen exhibits), it may take about 2 hours. Be sure to check the parts off the hill.
Exhibition Hours (Japanese only)
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station to the museum will take 20 minutes and cost 3000 yen.
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Recycling. Glass is not the same as crystal.
Volume II — Number 100
June 2017
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Why the following materials do There are things in the kitchen that should not be mixed, and we not go in the green container? do not just talk about the paella 1. Ceramics, earthenware and with sausage. porcelain In 2017, there are still doubts Ceramic and porcelain objects when choosing which cube you have a different chemical recycle each thing. composition from the glass and Glass is not the same as crystal, require more melting and porcelain and ceramics are temperature. her sister cousins. If they are mixed with the glass they do not melt in the furnace Glass, in addition, is the only material that is recycled to 100% and impair the manufacture of new containers, in fact, they once used. produce small stones that can From a bottle, another can come cause the new recycled out the same, without losing any container to break. of its original properties. And Therefore, this type of materials then again. And another. So must be deposited in the rest indefinitely. container, which is gray with This process makes it possible to orange cap. avoid the extraction of raw 2. Crystal materials, save energy and reduce CO2 emissions into the Glass and crystal are not the atmosphere. same. You may be among 79% of In everyday life many use citizens who claim to always crystal and glass as synonyms separate glass containers - are when we talk about some data from the non-profit objects. Ecovidrio, responsible for managing the waste of this What we call crystal, which is material in Spain, but the nothing more than colorless important thing is that you know glass, contains lead oxide, which who does not They are good gives it brightness and loudness, travel companions for your to objects such as your glasses bottles and jars. and glasses, but does not allow them to be melted in the same The illustration above explains it furnaces as bottles and glass to you at a glance. jars.
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The main trick to distinguish whether your glass is "crystal" or glass is its resonance. When you tap your finger, the "crystal" will create a long, ringing sound. Glass, on the other hand, produces a dull, much less evident and less lasting sound. So look out for glasses and "glass" glasses we often have at home. If broken, the remains should go to the gray container with orange cap, not green. 3. Caps and plugs Lids and caps are made of materials such as steel and aluminum, so they should not be mixed in the green container. Your site is in the yellow container. If we deposit the containers in the igloo with other materials we can complicate their separation and treatment. 4. Medications Glass containers from the use of medicines, such as syrups, contain residues that should not appear in the recycling chain. They must be delivered to a SIGRE point, located in pharmacies.
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Our activities.
Cultural visits. Taking advantage of our trip to Lanzarote, we will get to know the workshop of Cristalarte, in the municipality of Teguise.
Volume II — Number 100
June 2017
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2017.
Cristalarte works the glass with the technique of fúsing, realizing interesting works.
CULTURE 2017 program.
This June we will visit the Cristal Palace, in the Madrid Retiro, to see the exhibition of the Italian artist Rosa Barba titled "Records of solar transit". On page 45 of this Bulletin we include a review of this exhibition which registers the incidence of sunlight in architecture, at each given time and place.
For this, he has arranged steel-made quadrants where the solar movements are noted, and he has made a partial replica of the building: windows, columns and arches that have an equivalent in his intervention: specific project for the place titled 'Solar traffic registers' , Curated by Manuel BorjaVillel, director of the Reina Sofía Museum.
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The spectator perceives, through the glass, the beauty of the landscape, the trees that surround it, the sky, the clouds. But these elements do not constitute a nature separate from us; Are parts of a global, ordered machinery, whose movements have been noted in the quadrants that the artist has placed in the building.
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Interview.
Volume II — Number 100
June 2017
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There are many. But to refer to the latest flagship. The ecoefficient and high-performance glass products of Tvitec are in the recent conclusion of the enlargements of the Fiumicino airports in Rome and Marrakech; What kinds of transformations do Also in the new cultural icon of Paris, which is already La Seine you usually do, what product Musicale of Shigeru Ban, or in would you consider 'star' or the Top 25 of the main 'premium' in your service offer? Explain briefly the history of the skyscrapers that are being built in company. When did you start Undoubtedly Tvitec can be New York. Tvitec is competing in working on glass processing? considered as a world reference the North American market with in the transformation of large Tvitec System Glass began its the main transformers and is activity in 2008 with a clear focus glass products to process from already a reference for the great double glazing, such as on the processing of high US and Canadian brands for laminated, tempered or screen- quality and delivery times. performance glass for building printed glass with dimensions up and the focus on the most demanding international market, to 12 meters. This is reflected in Finally, what do you think are the the core of its business, which is the growing number of orders for limits on glass transformation and where are the challenges posed further intensified by the crisis in this type of solutions and the interest of architects, engineers by architecture and construction? the domestic market . In this and first-line builders for such It's hard to guess. We have period, Tvitec has not only crossed many of the limits that become a national leader in the solutions. transformation sector, but also What machinery and equipment seemed invulnerable, but that from the demands of the markets one of the leading players in this do you have to carry out your and the architects and the industry on an international work? engineers we have been scale, increasing its turnover by Tvitec has the most conquering by means of a tenfold to 100 million euros. technologically advanced continuous bet by the research in What are the trends that follow machinery in all its production the development of products and architecture and construction lines with the singularity that the solutions that tend increasingly and how do they influence the main world manufacturers have towards Eco-efficiency and transformation of glass? become partners to adapt to the energy saving. It is also clear that From Tvitec's point of view, there specific size and quality solutions glass, like other materials, can are three axes in the relationship demanded by our company. Only not be alien to the incorporation a few companies on an building, glass and architecture and connectivity with new that are very clearly visible in the international scale can be technologies and digitization. equated in this area with our trends of our industry. The high That is why Tvitec is already one company's equipment for the performance products with the of the few companies in Spain processing of architectural glass. incorporation of intelligent layers that have become reference of that tend to the sustainability and Is there any reference work in Industry 4.0 through the the energy saving through the programs promoted by the which we can find your envelopes and facades; The Government in this line. products? incorporation of large glass pieces not only in the aesthetic The commercial director of the company of the glass sector Tvitec, Alberto FernĂĄndez Sutil, speaks in this interview about the history of the company, the influence of trends in the transformation of glass, types of transformations, machinery and equipment with which The brand acts, etc.
but also in the structural plane, and the high quality digital screen printing as a point of sophistication in the final design. Tvitec is at the forefront of these trends for its policy of innovation and technological investment.
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Other trends. He slept in the Rijksmuseum.
Volume II — Number 100
June 2017
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Stefan Kasper, a 33-year-old artist and high school drawing teacher, was lined up with his students to join the Rijksmuseum in Amsterdam when music began to play. "We ask ourselves, 'what is happening?' And suddenly, everyone turns to me and congratulates me: it was the 10 million visitor. I did not believe it, "he says, still excited.
the museum, constructed between 1876 and 1885, and only he can count that it was alone with Rembrandt. And with Vermeer and the rest of the signatures of the Golden Age, which cram the second floor of the museum.
fits, as in a set design. And it's as if I painted it today, "says Kasper. Although the museum's surveillance service does not sleep, at 11 pm they left him alone with Rembrandt.
In the end, he has hardly A place designed at the time rested for a couple of hours: by the Dutch architect Pierre "My phone started ringing Cuypers with a mixture of very early." Gothic and Renaissance "If you think about it, it seems styles, which drew the wing made to measure: a drawing dedicated to the Golden Age teacher who is also an artist, Because he did not receive a as a kind of high altar, and comes with his class. trophy or a bouquet of including stained glass. But it is not so easy to flowers to use. The prize "Imagine, all that to me. organize. We had was to spend one night in Everything seemed to come campaigned on social the art gallery sleeping - it's to life, at least in my head. I networks and had some idea a saying - in front of The did not want to sleep, and at of when we would get 10 Night Round, Rembrandt's the same time I wanted to do million visitors, "says Taco famous painting. it, to enjoy the fresh and Dibbits, director of the "Everything was very fast clear picture, "he said Rijksmuseum. and everyone was very minutes before meeting In addition, he wants to friendly. Then they would not again with his students at encourage people "to look at let me out. " the Montessori College in the world differently and to Aerdenhout, near Haarlem. The management took care contribute to dialogue on of the students returning "For a few moments, I issues that remain relevant home without problems, and suppose I will be your hero. today, such as slavery." saw a bed, with his bedside But I assure you that I can Kasper managed to snooze table and a bottle of ... not take the canvas away around three o'clock in the champagne on the noble from my head. The details I morning, having enjoyed a floor. "An unforgettable saw, thinking I knew him by dinner served by Michelin night," he admits. heart. Like a guy with a star chef Joris Bijdendijk, sword next to the main It has also been an who was in charge of the character [Captain Banninck exceptional evening. It is the museum's restaurant. Cocq and Lieutenant Van first time that one stays in Ruytenburgh]. Everything
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The Museum of Tomorrow.
Volume II — Number 100
June 2017
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The Museum of Tomorrow (Museum of Tomorrow), one of the emblematic works of the city of Rio de Janeiro taking advantage of the celebration of its Olympic Games, has won the 2017 Mipim Award for the best green building. The building, considered as one of the cultural icons of the JJ OO, was created by the hand of the architect Santiago Calatrava and is the key element in the revitalization of the port area located in Port Maravilha, in the bay of Rio de Janeiro.
the space that complement the exhibitions of the museum. Some of the building's distinctive elements are marked by the use of glass as a light envelope. One of them is the spectacular glass shell that opens like a window on the front of the museum; Another, the succession of triangular glass windows with high performance glass made in Spain by Guardian Glass.
give the building maximum energy efficiency.
Last but not least, the project favors the entrance of natural light, with cancellation of glass in the facades and cancellation of triangular structures on the sides. Accordingly, glass is a key element in the finishes of the Museum of Tomorrow. The desire of the architect was to obtain the greatest luminosity possible and to procure a Through the architecture, the museum sense of spaciousness in the interior seeks to explore, think and project the spaces. For this, the SunGuard range Its long, two-storey form was designed possibilities of building the future. In of Guardian company was chosen, the in such a way that it respected and only brand that, for this project, was this way, the Museum of Tomorrow allowed to contemplate the supplied and processed by Tvitec. examines the past, presents current architectural set of the environment, Specifically, SunGuard Solar Neutral trends and explores FUTURE especially the Monastery of Sao Bento, 67, the most transparent glass in the scenarios, based on guidelines for one of the most important baroque SunGuard Solar range, which contains sustainability and coexistence. constructions of the country. The glasses of different aesthetics and The Museum of Tomorrow occupies building, which is now part of the solar control perfect for warm climates. Museum of Tomorrow, includes the A 15,000 square meters and is Said glass was tempered and surrounded by water mirrors, gardens, Noite building (first skyscraper in Latin laminated with combinations that reach a cycle path and a leisure area, America), the Pedra do Sal, the 24 mm thick. In addition, the pieces covering a total area of 34,600 square Gamboa neighborhood, one of the incorporate a small silkscreen of dark meters. "The idea is that the building color in the inner face of each unit, thus samba cradles, the historic Fortaleza was as ethereal as possible, almost contributing to the aesthetic da Conceiçao and the Museum of Art floating on the sea, like a boat, a bird requirements of the building. In total, of Rio (MAR). All this forms a cultural or a plant," explains Santiago Tivitec processed more than 750 arch that embraces a new renovated irregularly shaped pieces of glass and square. The five million square meters Calatrava. sizes that reach 3x4 meters. In addition area of Porto Maravilha is now an To this end, the materials that make example of urban regeneration and up the architecture of the 21st century to meeting the transparency requirements desired by the integration. have been used in a genial way: architecture study, it helps to provide concrete, metal and glass. "Our The Museum of Tomorrow aims to comfort and improve the energetic intention with this museum was to reflect the FUTURE from a scientific efficiency of the building. Total were create something that would lead the and technological point of view and, visitor to understand the time in which installed in the work more than 3,000 according to its architect, Santiago square meters of high-performance Calatrava, the shape of the building "is we live," said Lucia Basto, General glass. In addition to the the result of a very consistent dialogue Manager of Heritage and Culture of aforementioned solar control glass, the Roberto Marinho Foundation. whose artistic process has led to the and following the design of Santiago creation of more than 600 Watercolors, With 338 meters of extension, bold Calatrava, photovoltaic panels were so that the building is allied with the design and metal cover of 3,810 tons, installed on the roof. Materials that aim of becoming the place where a the museum demanded cutting edge together with others selected according museum is installed for the future, as equipment in Brazil and the to environmental criteria, have allowed an educational unit. importation of machinery necessary to the museum to obtain LEED give concrete, the main material in the (Leadership in Energy and The Museum of Tomorrow has been construction, fluid forms. The metal designed in harmony with the Environmental Design) certification, a cover, on the other hand, advances in global reference for certification for surroundings. With the unmistakable large overhangs: 70 meters in length signature of Santiago Calatrava, the sustainable practices. One of the towards the square and 65 meters design is bold but respectful with the concerns of the Roberto Marinho above the water mirror facing the bay. Foundation is to disseminate green environment, strong but elegant. Its There are 48 mobile assemblies in the building practices based on criteria of design has been thought to create in the visitor a unique experience and to form of metal wings, where environmental, economic and social photovoltaic panels are installed, excite emotions through the forms of sustainability, and the museum fully the building, the materials, the light and which contribute, along with other complies with these guidelines. elements, such as the use of water, to
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They prefer glass.
Volume II — Number 100
June 2017
The study highlights that consumers would be willing to use more glass containers. For 34% of Europeans not having the choice in glass of their favorite brands is the biggest obstacle when choosing glass; In the case of Spain this figure increases to 43%. Moreover, 59% of Spaniards would use glass only for food security, which is 2% more than in Europe and 8% more than in 2014. About the study
Growing concern for the environment, coupled with consumer preferences for a healthy lifestyle, are boosting consumer confidence in choosing glass as the ideal packaging material for food and beverage purchases.
Spaniards are also more sensitive than the European average. 88% are concerned about contamination of packaging in the environment, 9% more than the European average, and 2% more than in 2014.
This is revealed by the latest European survey commissioned by the Friends of Glass consumer platform, which shows a 15% increase in glass preference over the first survey conducted in 2008.
In this sense, 71% of Spaniards consider glass as the most environmentally friendly material. The reasons are clear, the glass is chemically inert and 100% recyclable endless times.
In our country, 83% of consumers say they usually worry about food safety, 25% more than the European average. 56% of Spaniards believe that glass packaging is the safest, a figure that has increased by 11% over the last three years. For this reason, the use in Spain of glass packaging is 2% above the European average, with infant foods being the most prominent. In terms of the environment,
The survey has attracted 17,377 citizens from 11 EU countries: Germany, France, Italy, UK, Spain, Austria, Croatia, Czech Republic, Poland, Slovakia and Switzerland; Between the 28 of November and the 14 of December of 2016. The purpose is to measure the evolution of consumer perception and the use of the glass container since the last survey. To access more survey data, you can visit news.friendsofglass.com
Friends of Glass is a platform that supports the glass container. It promotes a lifestyle that includes the "It is encouraging to see that consumers have become more consumption of products packaged in glass for three aware of the sustainable and main reasons: health, taste and positive benefits of glass environment. packaging. Although these results are positive, as an Friends of Glass began in 2008 industry, we can not conform as an awareness campaign for and we must maintain our glass created by the FEVE. commitment to inform Friends of Glass brings consumers about the together people from different sustainability and qualities of European countries who are glass as packaging material, convinced that glass is the "said Adeline Farrelly, ideal packaging material Secretary General of the thanks to its undoubted European Federation Of the benefits to health, ecology and Glass Container (FEVE). social progress.
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Page 33
Lanterns for Ramadan.
Volume II — Number 100
June 2017
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A thousand years ago, the Egyptians used small lanterns to illuminate the streets, which eventually became the symbol of Ramadan and are still used to decorate the neighborhoods at this time: The so-called "fanus". In the corner of a small workshop, the Egyptian craftsman Salama Hanafi does not stop working with his son Atef to have the "fanus" (lanterns) and sell them before the first day of Ramadan, which began on Saturday 27 May. From the entrance of the studio, located in the area of Berket el Fil, in the popular neighborhood of Al Sayeda Zeinab, and adjacent to a mosque of the nineteenth century, lanterns, of different sizes, placed on the ground and in a single line, Guide the way to the gray space where Hanafi produces his colorful works by hand. "Before, the biggest lantern measured 15 centimeters, but now it reaches two and three meters. It depends on the time," Hanafi tells Efe while holding a blue glass with which he works. The origin of these lanterns goes back to the caliphate fatimĂ, that reigned in North Africa from year 909 to 1.171 d. C., and that Cairo became its capital from the second half of the tenth century.
drinking and smoking - among other actions - between dawn and sunset, and according to the artist, Use have been evolving over time.
before the children used to play around the "fanus" and sing songs to welcome the month of Fasting and prosperity for millions of Muslims.
"In the era of the Fatimids, they were used smaller, with a door that opened to place a candle inside," says Hanafi, while his colleague teaches one of these relics.
Although the work of Hanafi has been tarnished and even threatened in recent years by the influx of decorative objects that began to arrive from China and India, he has never thought of closing his business.
With yellow hands after painting the corners of the glass with that color to protect the object from oxidation, explains that to create the lanterns you have to weld the tin to the glass to go slowly giving the final shape to the piece. In different historical periods, fashions not only marked the size and shape of lanterns, but also their names. For example, he relates, "at the time King Faruq ruled Egypt, we made silver lanterns we call Prince Faruq," while now he says, the star product is the "watermelon dude", named after his Shape and use of reddish glass.
"None of the lanterns that come from China or India is the original 'fanus', because what they make are toys," says this lantern artist who only sells wholesale. These plastic "toys" referred to by Hanafi flood these days the store doors to attract the attention of pedestrians who seek to decorate their homes before the imminent arrival of the first day of fasting, although according to the Egyptian, The sale of those objects no longer affects us. "
"The Egyptian people like anything that comes from outside. It proves it, uses it and then goes back to the original," he says, referring to the Through the workshop of Hanafi, Egyptians regaining the tradition of buying "real" lanterns. who has practiced this profession for more than fifty years, several people have passed to learn this trade, and nowadays their former apprentices run their own studies.
From this ancient corner located in one of the historic neighborhoods of Cairo, Hanafi affirms that he will continue his legacy with his son so that Egyptian families continue to Since then, lanterns have enlighten and illuminate Lanterns are now used to become a symbol of the sacred decorate Egyptian streets, cafes, Ramadan nights of the country. month for Muslims, in which they houses and, of course, tourist are prohibited from eating, sites, although Hanafi says that
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Page 34
Glaziers paint with light.
Volume II — Number 100
June 2017
for a master glassmaker to dress the Carthusian Miraflores of Burgos with unusual stained glass windows for the time, completely different. From there arose my interest in this world of artists, glass blowers, and every time I was more fascinated. I have read 'The Pillars of the Earth' and 'The Cathedral of the Sea' and I liked it, but this novel is different, it has another route and other scenarios. Veterinarian by profession, Gonzalo Giner (Madrid, 1962) became known as a writer with the novel 'La cuarta alianza' (2005), although he obtained more success with 'El hombreador de caballos' (2008).
"What seems most novel is the stained glass theme, is not it?"
"It struck me that it had never been dealt with before in a novel. The first impression I had is that the master glassmakers were considered minor artists in front He did not leave the equine of the painting or the sculpture theme with the following, 'The and it seems to me unfair Rider of Silence' (2011), but in his because when you get into the new book, 'The windows of cathedral of Leon you are heaven' (Planet, 2017), is fixed in amazed by a work of art that is the stained glass windows of the not static but dynamic, that cathedrals through a novel Of Varies with light, according to the adventures that honors the hours of the day, has some craftsmanship of glassmakers. nuances that are strengthened and enriched. I, at least, did not Gonzalo Giner stars in the LA even know the name of any RIOJA-UNIR Cultural Aula with the conference 'Stained Glass to known master glazier. All this led me to write about it, about the look out for history'. people who lit the cathedrals, - Is 'The windows of heaven' a who gave them life, without novel about cathedrals? pretending to make an essay. - It is a novel that has the -Does your novel, then, a tribute cathedrals in the background but, to the work of glassmaker? really, it is about a young man who is going to find the amazing - There are few glassmakers in world of stained glass, which are Spain but they are very professional and active. There is the ones that dressed in the cathedrals. It has more to do with one in Catalonia, Vila-Grau, which I think has finished the light, the glass, the office ... mounting the stained-glass because of cathedrals have windows of La Sagrada Familia, already told us many things evidently with a different, more already. modern style. And in Burgos is - And has not had at least as the workshop of the Barrio referents works as 'The pillars of brothers, who work very hard the earth' and 'The cathedral of with international projects. As a the sea'? result of the launch of the novel -The truth is, no. When I began to have been contacted me many think about this novel the subject who did not even know they existed. This is not a very was completely different: the common task. Many work harder wool market in the Middle Ages in restoration work. The most between Castile and Flanders. But in search of documentation, I important is Luis García Zurdo, from León, the Spanish referent, suddenly found that Queen with deep knowledge of medieval Elizabeth had commissioned a stained glass windows. I was very important merchant to look
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with him a few times to answer several questions, because of his experience. "Should we consider them artists?" "It's such a beautiful trade... They are considered not only masters of glass but also artists, painters. Glassmakers consider that they paint not with oils but with light. - It goes back to the fifteenth century to tell this story. Does such a setback make the story difficult? "Quite the opposite." It is late in the Middle Ages, which is a period that fascinates me, is very interesting because of the principles of communication between cities, crusades, cathedrals ... But this is an adventure novel that the reader will be fascinated to see how In a workshop you can make some stained-glass windows like the ones that are later seen in the cathedrals, and also transfer you to whale fishing in the Nordic seas or the salt collection in the Tunisian desert. It is an old period but not dark, disorganized or dirty but with light. We will identify with many characters. -As adventure novel, it is not static, born in Burgos, travels to Africa, then to the north of Europe ... -The protagonist makes a vital journey that coincides with a physical one, tries to understand himself. It is a novel with a lot of travel, but the world of stained glass and of the trade in the Middle Ages were activities with much traveling movements. -Open the novel with the quotation from Camus: "What is a rebel? A man who says no". Is this a story of fighting fate? -Yes. The protagonist suffers a contradiction, knows what he does not want to do in life, his father marks the destiny of inheriting the family business of exporting wool, but that he does not like.
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The Venice Biennale.
Volume II — Number 100
June 2017
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The renowned German contemporary artist, Anne Imhof, was awarded the Golden Lion of the Venice Art Biennial for its striking installation "Faust" on capitalism, sexuality and repression. The jury of the celebrated contemporary art event, which opened its doors on May 13, presided over by the Spanish Manuel Borja-Villel, praised the work of one of the greatest talents of the Old Continent for its "powerful and disturbing Installation, which raises
many questions about our time. " The installation, with artists dressed in black under symbolic glass cages where they twist, and that forces visitors to walk on them in transparent plexiglass platforms, leaves the spectator astonished. Inspired by Goethe's Faust, artists crawl under glass as they perform shocking performances against power, sexuality and technology obsession with two symbolic doberman dogs on guard. Imhof, born in Giessen in 1978 and working in
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Frankfurt, began her career in 2013 with an individual exhibition, with live donkeys and actors locked in an invisible enclosure. Described by the Frankfurter Allgemeine Zeitung as the "discovery of contemporary art", he has exhibited at the Hamburger Banhof in Berlin, as well as in Paris and Canada. Imhof's performances are known not only for being long - five hours long for Venice but also for exploring the movement and eliminating the boundaries between artist and audience.
Page 36
How does it.
Volume II — Number 100
June 2017
This month we include some pictures of the technique practiced by Diego Rodríguez.
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Page 37
Fostering equality.
Volume II — Number 100
June 2017
Promoting equality between men and women in all social and professional fields is one of the objectives of the Socialist Government team, recalled yesterday Councilman José Bayón, so the City of Segovia organizes various activities aimed at promoting such equality. One of them was the 'Women, Entrepreneurship and Leadership' event, organized by the Department of Economic Development, Employment and Innovation, within the Segovia Open Future business acceleration program. Bayón explained that it was an open day for all society Tuesday, May 23, from 12:00 to 14:00, in the Sala Ex.Presa 1 - in which the protagonists have been entrepreneurial women and businesswomen from various sectors.
The first to intervene was the mayor, Clara Luquero, who said in the presentation of this initiative that "we are backing on equality, there are now many more macho attitudes that years ago and that worries us all."
company Sociograph, the first international company with a unique and neuroscientific system that determines with total reliability the effectiveness of communication; Alba Martín, founder of Alba Martín Glass, blown glass craftsman; And The following was a Marta Vázquez, founder of presentation by Blanca Jausia, a virtual reality Drake Rodríguez Casanova, company that creates head of the Telefónica Open architectural environments Future 'Women's Age' designed in 360 degrees and program, which promotes interactive tours based on women's entrepreneurship in virtual real estate models. the countries in which the group is present. The mayor and the councilor explained that during this Then a round table was meeting various topics such held, moderated by Bayón as innovation and knowledge itself, with the participation of were addressed as essential four women leaders in their elements for the future; The fields of action: Ángela entrepreneurial DNA; Or the Navarro, president of the role of women leaders, Angela Navarro Foundation, referring to the new a pioneer in the study and entrepreneurs. development of methodologies to provide Participants also shared the solutions to People with experiences, difficulties and aesthetic, disease or benefits they have treatment sequelae; Elena encountered during their Martín, co-founder of the careers.
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Page 38
Painting in the Museum of Memory.
Volume II — Number 100
June 2017
Hugo Dermit was tortured and killed by the military in the La Paloma battalion in December 1980, a few days after the plebiscite that rejected the proposed constitutional reform proposed by the dictatorial regime.
"says Dr. Gomez Perez, who graduated from the Faculty of Medicine in 1974 and was imprisoned in Punta de Rieles since November 1980 to March 1984.
"The exhibition does not pretend to be an accurate Hugo's mother, however, was sample of recent history, but it told by the military that his son, does trigger other searches who had been in prison for about what we lived in eight years and had his Uruguay in those years. And freedom signed, had the focus is not on what the committed suicide, hanging in military did, "said Gomez his cell. Perez. Teresa Gómez Pérez knows this story very well, and for that reason Dermit is one of the main honors in his exhibition Neither invisible nor transparent. Through the glass.
In the exhibition there are references to works by the Chilean painter Francisco Villarroel Fuentealba, the Ecuadorian Oswaldo Guayasamín, the Cuban René Portocarrero and the Uruguayan Pilar González and "Hugo Dermit was never released. The dictatorship lies, Javier Alonso; Also to texts by Eduardo Galeano, Sergio creates political facts and Villaverde and Daniel twists with the aim of Astapenco, among others. generating terror, which was one of the bases of its power,
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We also used posters of the CNT in exile, photos of Alejandro Persichetti and our companion Nicolás Celaya, and designs on Cerámica del Cart plates, a collective founded in 1972 by the teachers of Fine Arts Jorge Errandonea, Miguel Ángel Pareja , Antonio Llorens, Marcelino Guerra, Lino Cabrera, José Arpi, Beatriz Stagnaro and Javier Alonso. Punctually, the painting in glass that honors Dermit was made from a drawing of militant and artist Ibero Gutiérrez, taken from his book Youth, art and politics. The book was published in 2009 by the Association of Friends of the Museum of Memory and the Department of Culture of the Intendance of Montevideo; Gutiérrez, it is worth remembering, was assassinated by the Death Squad in February 1972, when he was only 22 years old.
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The tears of Prince Rupert.
Volume II — Number 100
June 2017
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When Prince Rupert of Germany showed a few drops of glass to King Charles II of England in the seventeenth century, he was intrigued by the enigma of these tears in the form of a tadpole.
which can be easily disturbed when the tail breaks.
The next question was how tensions are distributed along these glass structures, also known as "Dutch tears". The head was so strong that it Understanding the distribution of could withstand a strong impact stress would help explain more like a hammer, while pinching the fully why the heads of these fragile tail, the whole drop drops are so strong. exploded. To this end, Chandrasekar and Four centuries later and thanks to modern technologies, researchers have found the explanation for the question of why the glass heads of the socalled Prince Rupert drops are so strong. For years it has been tried to understand what causes the unusual properties of these drops, which are easily made by dropping red stains of molten glass into water. In 1994, Professor Srinivasan Chandrasekar of Purdue University (Indiana, USA) and M. Munawar Chaudhri of the University of Cambridge (UK) used high-speed framing photography to observe the process Of the drop when it breaks. From their experiments, they concluded that the surface of each drop experiences highly compressive stresses, while the interior undergoes high tension forces. Therefore, the drop is in an unstable equilibrium state,
Chaudhri began collaborating with Hillar Aben, a professor at Tallinn University of Technology (Estonia), who specializes in determining residual stresses on transparent three-dimensional objects such as Prince Rupert's beads. In the new study published in Applied Physics Letters, Aben, Chandrasekar, Chaudhri and his coauthors have investigated the voltage distribution in Prince Rupert's drops using a transmission polariscope, which is a type of microscope that measures birefringence in a transparent object Axisymmetrical, like the drops of Prince Rupert. A higher surface compression stress In their experiments, the researchers suspended the drop in a clear liquid, and then illuminated the drop with a red LED. Using the polariscope, the researchers measured the optical delay of light as they traveled through the glass drop,
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and then used the data to construct the stress distribution along the entire drop. The results showed that the heads of the droplets have a much higher surface tension than was thought to be 700 megapascals, which is almost 7,000 times the atmospheric pressure. This surface compression layer is also thin, about 10% of the diameter of the head of a drop. As the researchers explain, these values give the droplet heads a very high fracture resistance. To break one, it is necessary to create a crack that enters the zone of internal tension in the drop. Since cracks in the surface tend to grow parallel to the surface, they can not enter the stress zone. Instead, the easiest way to break a drop is to press on the tail, since a disturbance at this location allows the cracks to enter the tension zone. In general, researchers believe the results ultimately explain the great force of Prince Rupert's beads. "The work has explained why the head of such a drop is so strong," Chaudhri told Phys.org. "I think we have now solved most of the major aspects of this area, however, new questions may arise unexpectedly," he concludes.
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Saint Gobain invests in Mexico.
Volume II — Number 100
June 2017
By laying the foundation stone of what will be the new industrial complex of Saint-Gobain in Saltillo, the construction of what will be its automotive glass plant began. However, they also announced their intention to bring another float glass plant to supply raw material to the first factory to be installed. Saint-Gobain is a French company that was founded 352 years ago and has presence in 67 countries; The new investment in Saltillo will be located in the Alianza Derramadero Industrial Park and represents an investment of 110 million dollars and a generation of 150 direct and 600 indirect jobs. In his message, Stéphane Artaud, CEO of Saint-Gobain Sekurit in Mexico, said they are leaders in the manufacture of automotive glass for OEMs, as well as for the aerospace and railway industry. In the country, they began operations in Cuautla, Morelos, where they now supply windshields, medallions, doors, ceilings and encapsulated glass for one in every two cars produced in Mexico and are delivered to 40 OEM plants in the NAFTA area.
In Saltillo, he said that they acquired 55 hectares in that park and will have a state-of-the-art plant, robotized and oriented to industry 4.0. The project that will be developed in phases, first contemplates an investment of 50 million dollars, so that by the end of 1Q18, windshield production will begin and an annual capacity of one million pieces is planned. While that same year, would start the 2nd phase for tempered glass and will produce sides and medallions for vehicles; Finally, for 2019, laminated glass, although this last phase will depend on the market. Dominique Azam, the delegate general of Saint-Gobain for Mexico, Central America, Colombia, Venezuela, Ecuador and Peru, confirmed that they have a short, medium and longterm investment plan and if they are here it is to follow Investing with a strong dynamic.
process and continued with a float glass plant, which is the normal history of the growth of this type of business. For the time being, among the reasons that generated that they will install their plant in Saltillo, is its strategic location that has it near the center of gravity of the OEMs in Mexico, but also for being located in a corridor privileged for the US and by its workmanship Qualified and professional. Stéphane Artaud.- CEO of SaintGobain Sekurit Mexico: > With what other states did Saltillo compete for the investment of this automotive glass plant? S. We look for SLP, in Bajío, near Aguascalientes and obviously we are in Cuautla today, but we decided to come here because of the proximity of the US and our internal clients in Mexico. > Float glass plant Is it safe or are we going to see?
Faced with this, he announced that they also have the idea of installing a float glass plant in Saltillo, although they expect final confirmation.
S. I would say sure because at some point it has to arrive, we need a float glass plant, but today there is a decided date, although it has to arrive at a given time.
However, he recalled that when the company started operations in Cuautla, Morelos, it also started with the automotive
> What investment does this type of plant require?
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S. When float glass investments are 150 mdd
Page 41
Glass and rugby.
Volume II — Number 100
June 2017
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Ecovidrio, the non-profit organization in charge of managing the recycling of glass packaging waste in Spain, in collaboration with the Valladolid city council, delivered last Sunday, April 30, the recycled glass trophy to Afa Tauli as a player Outstanding of the end of the Cup of SM the King Carrefour 2017, disputed in the stage Jose Zorrilla of Valladolid between the Santboiana and the Silverstorm El Salvador, and that finished with victory for the first by 16-6.
motifs installed in emblematic points of the city to encourage the recycling of glass, combining sport and The sustainability. It thus becomes a symbol of the effort, not only of the champion, but also of the citizens who, conscious of the importance of caring for the environment, have decided to put their grain of sand and give the glass they have consumed the opportunity to be part of Of this magnificent trophy.
played with a green ball, reminding all fans the importance of recycling glass. Rugby and recycling in the streets of Valladolid For the first time, a rugby competition has become a sustainable and responsible competition with the environment.
The citizens have been able to live at the foot of the street the passion of sport and the recycling of glass thanks to the numerous special containers installed Thanks to this initiative the in the city of Valladolid. citizens have been able to The production of the live on foot of the passion The objective has been to trophy has been possible of sport and the recycling encourage the thanks to the collaboration collaboration of citizens to of glass. of citizens who have recycle the glass deposited glass packaging In addition, on this containers that have served occasion, the final of the waste in the 12 vinyl to make the trophy to the Copa del Rey has been containers with rugby best player of the final.
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Page 42
Glass in boats.
Volume II — Number 100
June 2017
The Syrena merchant vessel docked a few days ago in the port of A Coruña. This is a normal ship, but what sets it apart from the others that arrive at the dock is that in its warehouses it carried 1,500 tons of sheets of glass, a commodity that had not reached the Galician city for a decade From the Port Authority of Coruña highlighted the arrival of this vessel, "because if we managed to convince the operators we would recover a very important traffic for our dock", they indicated from the offices of the Port. This type of goods arrived in this basin in early 2000, "but without knowing the reasons did not do so several years ago," said sources in the port community. It is a product "that has a great added value and is very beneficial for the coffers of the Port", they
emphasized. But the most important thing is that the arrival of glass, "a very sensitive merchandise and that needs a special treatment in the discharge to avoid the rupture of the sheets", allows to hire labor, "both dockers of the public company as of the Templates of consignees, "they emphasized from the Port Authority. This first landing of glass panels on board the Syrena comes from Turkey.
eliminate heavy traffic by road to implement intermodality. «It is a unique port» For these reasons, in 2000 began to arrive by boat. Why the Castilian-Spanish factory chooses the Corunna docks? "It's a unique port," port experts say. "Their good facilities, their extraordinary workers and their good communications are extras that very few ports have", they emphasize.
With this new traffic, those responsible for the Port The merchandise is being Authority expect to exceed stored in the vessels of the the million tons of general Ship Terminal Maritime cargo last year, which Terminals of Galicia already meant 8% more (TMGA) in the dock of than in 2015. Calvo Sotelo. Another important aspect is "From here it will be that the urban docks transported by land to a "continue to arrive clean, manufacturing company non-polluting goods". located in the community Will the Tvitec company of Castilla y León," they choose this type of said. transport for its glass Glass arrived in Spain by imports? truck, but international authorities want to
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Page 43
Fold glasses.
Volume II — Number 100
June 2017
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A new technique makes it possible to bend glass sheets to obtain complex or unconventional shapes with the help of laser beams. This opens the door to a wide range of potential products for architects and designers.
stops, changes position and continues. The 4 mm thick glass sheet is in an oven that has been preheated to just below the temperature that causes the glass to melt.
The glass now begins to The creators of the technique soften at the points that the are taking advantage of a laser has warmed up and, particular quality possessed by thanks to gravity, the heated the glass, and is that it portions sink as if they were becomes viscous, and made of thick honey. therefore malleable, when Once the desired shape has exposed to high temperatures. been reached, the laser is Accurate calculations and gravity do the rest.
turned off and the glass solidifies again.
A laser beam moves through the surface of the glass with absolute precision, following a programmed path.
The result is a glass object with a fascinating complexity of shapes.
From time to time, the beam
This is how lasers can be used to help mold glass sheets in a
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process developed by the Fraunhofer Institute for Materials Mechanics (IWM) in Freiburg, Germany. The whole process is based on a physical characteristic of the material; Unlike metal, for example, the glass does not have a definite melting point in which it is liquefied. When exposed to a certain temperature range, it only softens and becomes malleable. The technique, devised by IWM's Tobias Rist team, will allow architects as well as industrial designers to make use of forms that were previously difficult or expensive to produce.
Page 44
"Glass is Life".
Volume II — Number 100
June 2017
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Glass is considered the most healthy and ecological packaging.
Sixty percent say that glass is less likely to change the taste of food or beverages, while plastic occupies second place The global campaign "Glass is with 20%. Life", which seeks to highlight the advantages and benefits of When consumers were asked glass versus other containers, if they could buy their favorite conducted a survey among food or drink in any type of consumers of various container, what kind it would materials and concluded that be, the largest percentage glass tops the list of (69%) chose the glass. preferences in many 90% consider the glass to be categories. the healthiest container, since They also said that glass is the it does not seep into the most environmentally friendly product. container. Eighty-five percent of Owens - Illinois (O-I) prepared respondents said that food data and analysis of the report, and beverages taste better on based on an Omnibus telephone survey of 1,000 US consumers this year. Key insights from the study say that when consumers compare glass, plastic, metal, cartons and flexible bags, glass tops the list of preferences in many categories. When asked which is the most ecological packaging, they answered that glass (37%); Cardboard boxes (30); Plastics (15%); Metal (10%) and flexible bags (6%). In other characteristics, glass also leads the consumer preferences of the Americans, for example: 59% say that glass is the most healthy and natural, followed by cartons by 17%.
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glass, and 81% said they agreed that glass containers look more attractive on the shelf. O-I uses these statistics to support its first global campaign to advocate for glass, called "Glass is Life". "Glass is Life" is the most important global campaign of the year that is launching O-I. This campaign, launched in 12 countries and seven languages, is designed to showcase the unique and unparalleled qualities of glass containers used to store food and beverages.
Page 45
Bolivian glass factory.
Volume II — Number 100
June 2017
The Bolivian glassmaker has an execution in the civil works of 70 percent, revealed the general manager of the Productive Public Company of Glass Containers of the country (Envibol), Oscar Sandy. In addition to these constructive advances, Sandy said that from June to July will begin the assembly of all technology and in November will be ignited the furnace, the central part of the industry, built in the municipality of Zudanez,
Chuquisaca department. According to the executive, from December this year to January 2018 will begin production and supply of glass containers to the food and beverage industries of the nation. Likewise, he explained that Envibol initiated efforts to seek strategic alliances with private companies in order to market the glass containers, including Cervecería Boliviana Nacional, the main customer of the new factory.
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According to the manager, that industry buys 21 million glass bottles annually. He explained that in the framework of the recycling culture and in coordination with the promotions of the educational units, a campaign will be carried out to reuse the glass containers, after a process of treatment of those materials. He also recalled that the investment for the construction of that new glass industry amounts to 36 million dollars.
Page 46
Rosa Barba in the Retiro.
Volume II — Number 100
June 2017
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From abc.es.
The Palacio de Cristal del Retiro, in Madrid, is a particularly complex building for the presentation of art exhibitions. Its architectural structure, with its glass roofs, is just the opposite of the enclosed spaces, delimited, that are usually used to display art.
the transparencies of glass and plates. The work can not be seen at once, in a static way, but is changing: it moves and changes at different times of the day, and also according to each of us we move from one place to another, adjusting and shifting our gaze.
The proposal makes it possible to appreciate one of Relying on this apparent contradiction, the Italian artist the continuous features of the Rosa Barba (Agrigento, 1972) method of work of Rosa Barba, one of the most has conceived a subtle and profoundly beautiful proposal prominent artists currently on the international art scene: in its conceptual and poetic Throughout her career, works intensity. are always conceived in Its starting point was the dialogue with spaces where elaboration of a diagram with Are presented. And, at the the records of the incidence in same time, it is a new variation different hours of the sunlight - or register - of his interest in in the architectural filter, of the decomposition or glass and steel, of the Crystal deconstruction of the Palace. cinematographic image, After that, he placed metal central theme in most of his quadrants in the building with works. the notes of the movements of If in them, in their film the sun and made a replica of installations, the light of the it. Finally, he arranged in projector moves interactively different places a set of with the space and with those tempered glass plates with who are in it, in the Crystal colors of film filters. Palace we live something The result is a dynamic and similar. interactive artistic proposal: The building as a whole what is lived inside the Palace becomes a great hall of filmic is the displacement of light and projections, dynamic and the gliding of colors through changing, only in this case, the www.amigosmava.org
function of the projector / machine is made by the Sun, from which all the light projections come. Against the filters Rosa Barba takes our eyes to a critical question about our possibilities of reaching the light in this world of today, where the technology displays all kinds of filters. To leave the shadows, of the darkness, to reach the light, is one of the deepest registers of human sensibility. Something that was already inscribed in our tradition of culture since Plato, when this, in the Republic, in his allegory of the cavern, raised the exit from the cave to the surface and the experience there of dazzling, of being blinded by the true light , The light of the sun, instead of the indirect shadows of light in the confinement. Rosa Barba moves us to "look up," to capture the dynamic, changing "text" of natural light, of sunlight, through its transparencies. Because light is, in itself, a text that must be read, interpreted, in order to see in it the echoes and records of truth. Let's get out of the shadows.
Page 47
Our Newsletter is worded in:
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with current management.
Castillo de San José de
June 2017
Valderas.
The purpose of this Association is to
Avda. Los Castillos, s/n 28925 ALCORCÓN
promote, encourage and support many
MADRID
cultural activities, in the broadest terms, are related to the mission and activities
When glass culture
of the Museum of Glass Art Alcorcon.
Volume II — Number 100
Our goal is to develop and collaborate with other public or private entities in the promotion, protection and dissemination of art and culture. Our members may be fees, benefactors, Full and juveniles.
www.amigosmava.org
Presidente honorario
Evangelina del Poyo
Presidente
Diego Martín García
Miguel Angel Carretero Gómez
Francisco Martín García
Vicepresidente
José María Gallardo Breña
Secretaria Rosa García Montemayor
Vocales
Javier Gómez Gómez
Pablo Bravo García
Tesorera Mª Angeles Cañas Santos